Change Your Image
elicopperman
With my imdb page, I'm here to rate as many films, shorts and shows as I can and create movie reviews to share my own opinions to all of you who choose to follow me, whether or not you agree with them. My point to express my thoughts on any given form of entertainment is not to say that my opinion is better than yours, because at the end of the day, it's not, it's just an opinion. My point is to mainly offer my own points of view and maybe even here some responses from anyone of you who reads my reviews. If there's one thing I can't stand, it's people who are so full of themselves that they'll become butthurt if someone disagrees with their own thoughts on something. All in all, I'm not some elitist who thinks so highly of himself, I'm just a random guy who loves the film & animation medium and wishes to maybe work in it someday. For now though, just writing reviews on specific films and shows will do just fine.
Also, don't think all my reviews will be the same in terms of length or even structure, as I'll mainly write however I'll feel as long as I give decent criticisms and praises of whatever I'm reviewing. Some may stick to one specific style, and most of my reviews do have a similar kind of structure admittedly, but some do vary in that department so I won't be too redundant. So with all that said, I invite you to relax and pull up your chair, as I fully present to all of you my reviews and ratings. Have fun loves and keep on trucking.
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Heaven Can Wait (1978)
Humorously Old Fashioned & Freshly Engaging
Marking the directorial debut of Warren Beatty (along with Buck Henry), the premise of an American quarterback who is mistakenly brought to heaven by his guardian angel and returns to Earth in another man's body to play for the Rams sounds quite ridiculous in concept. Fortunately, Beatty, Henry and co-writer Elaine May manage to blend enough wacky humor and emotional pathos to keep the story thoroughly engaging. Much of the pathos is through Joe Pendleton's (Beatty) romantic pursuits towards environmental activist Betty Logan, and while not shown as much as one would think, Beatty and Julie Christie share just enough charming chemistry to sell the former's humane charisma.
The funnier moments come in play when Joe impersonating wealthy industrialist Leo Farnsworth interacts with the latter's gold digger wife Julia and personal secretary Tony Abbott without realizing that they are trying to kill the man. On top of the numerous prat falls and bizarre revelations they have towards Farnsworth's attitude changing with Joe inside him, Charles Grodin and Dyan Cannon are arguably the funniest players in the feature due to their sophisticated yet hysterical frustrations in trying to get rid of their master. Also, in possibly the film's funniest scene, seeing Joe attempt to convince his longtime friend and Rams trainer Max Corkle who he truly is shows how well much of the comedy works in favor of surrealism trapped in reality. It's cool to see a cast of characters work together with such an oddball concept and treat it with enough dark humor and situational drama to boot.
With that all said, the film is best enjoying for the story and characters as long as you don't think too much about its confusing rules behind death. Considering that Joe can only come back to Earth by inhabiting the body of someone else who's died, it makes sense that people would recognize him outwardly as Leo Farnsworth despite us as the audience seeing him as who he was before his death. However, once the film's climax kicks in and he inhabits another football player, the additional logic of him losing all his previous memories is hard to swallow, especially when the film concludes without further explanation. Also, it would have been fascinating to see what everyone sees Leo Farnsworth as for at least one shot just to sell the idea that they don't see Joe much more believably. Not to mention, I feel as if the film could have benefited from at least a few more scenes to emphasize how Betty's country had been handled or what resulted in Tony and Julia being exposed for murder. I'm sure one more rewrite couldn't have hurt the filmmakers in this case.
But with that in mind, I imagine Heaven Can Wait isn't all about its plot details making complete sense or all of its subplots being fully resolved. By retelling Harry Segall's play with a blend of slapstick antics and romantic fantasy, Beatty and Henry succeeded just enough in capturing the human essence of elevating your true purpose in life no matter the obstacle. If you're able to take the mixing of goofy comedy and soulful pathos to heart, you'll find a lot to admire in the long run.
Superbad (2007)
Has its Heart in the Right Place
For every really funny and relatable moment, there's also a ton of material that ages horribly. It gets most of its laughs within the first and third acts, but the second nearly runs out of steam with how dragged on many of the stakes and consequences are. That said, Jonah Hill & Michael Cera make a hysterical married couple in the form of two best friends since childhood, and the chemistry between Christopher Mintz-Plasse, Seth Rogen and Bill Hader arguably caters the funniest interactions and dumb stunts in the whole feature.
While this era of raunchy teen humor is thankfully no longer around, knowing that Rogen and co-writer Evan Goldberg based the film off of their last years in high school gives this film a charming enough identity on its own. Plus, seeing Emma Stone in this nowadays is truly refreshing knowing the myriad of accomplishments in her career since then.
American Psycho (2000)
A Manic Businessman Told from the Sophisticated Point of View
Arguably one of the more favorited polarized book to screen features of the last 25 years has to be Mary Harron's 2000 adaptation of Bret Easton Ellis' bestseller horror novel, American Psycho. Known for being one of Christian Bale's most iconic acting roles to date, the film has either been loved by many or scoffed off by others (including Ellis being part of the latter). That said, I do agree that the movie is fairly nuanced and unconventional in its execution and it might be far more enjoyable overtime.
Now trying to make a decent story of an NYC investment banker leading an alternate life as a serial killer is no easy task, but Harron and cowriter Guinevere Turner manage to craft the main character Patrick Bateman's fluctuating lifestyle quite seamlessly. As Roger Ebert pointed out in his review, rather than coming off as psychologically abnormal, Bateman is more of an exaggerated caricature of the selfish egotistical man in high power that many have had to put up with, and Bale showcases the man's facade behavior in flying colors and emotions. No matter who Patrick ends up murdering, it comes off as if he's managed to embrace his despicable actions throughout his life, which only makes the people he interacts with all the more fascinating. In addition to Bale, the ensemble cast of Willem Dafoe, Jared Leto, Josh Lucas, Chloë Sevigny, Samantha Mathis, and Reese Witherspoon portray each character so distinctly that they practically come off as the types of business minded people one would interact with in Patrick's world. Sometimes, a strong cast can make the opponents and allies of a suave deranged psychopath all the more intriguing as one hopes they'll be ok around the man.
Filmmaking wise, the biggest highlight of the feature's production design is how well they were able to blend the outer and interior locations of New York City and Toronto together, with the crew successfully recreating both cities into one concise world that showcases the divine intricacies and claustrophobic artificiality of the elite class. Considering how most of Patrick's murders are done behind closed doors (as well as timed to killer beats from the likes of Huey Lewis and Whitney Houston), one could argue that the upscale fancy apartments he is able to afford are eating him alive along with the people whose lives he terminates. If Patrick Bateman snapped a long time ago, even before the events of the movie, then lord knows just how emotionally damaged he is within a business world he arguably cannot function in despite knowing next to nothing else he could do with his life. Regardless if the film's commentary missed the mark on Ellis's supposedly biting satire, it still leads many to wonder if the real cause behind the wealthy murderer is their own status.
At the time I am writing this review, American Psycho will be readapted into another movie by Luca Guadagnino sometime in the future. While I'm sure the filmmaker has a reasonable right to add something unique to the source material, I think Mary Harron's take is fine the way it is and is only a further reminder that we do not need anymore second takes on already proven successful properties. If people already gravitate to this film for its unique commentary and captivating performances, then I think we're ok to call this film the penultimate take on Ellis's novel. Some things are better off left alone, especially when dealing with a sophisticated maniac like Patrick Bateman.
The Shape of Water (2017)
An Unconventional Romance of Two Unlikely Outcasts
One of the most peculiar Best Picture Oscar winners of all time has to be Guillermo del Toro's 2017 romantic fantasy film The Shape of Water. In addition to winning the Golden Lion award at the 74th Venice International Film Festival, the film was a huge hit with critics and audiences and was even lauded as one of 2017's greatest features. Looking back at the film nowadays, the best way to describe it is an unusual romance story following two outcasts living at a time period when the general public was suspiciously paranoid against those who are different, and that alone is what makes it hold up.
Set in 1962 Baltimore, Maryland, the film tells the story of a mute cleaner named Elisa Esposito who falls in love with a humanoid amphibian creature being held at a high-security government laboratory and helps him escape from death at the hands of an evil colonel. With the Cold War era in mind, del Toro and co writer Vanessa Taylor establish the thrilling intensity within environments that oppress those different from the norm, especially Elisa herself. As Elisa can only communicate in sign language, Sally Hawkins conveys so much through her vulnerable facial expressions and sympathetic aurora, and she makes it easy to root for the character as she navigates the cruelties in her life. In addition, Hawkins and Doug Jones share sweet pantomimed chemistry with each other, and seeing the latter capture such genuine sweetness underneath multilayered prosthetics allows us to buy the idea that this creature from the black lagoon has a soul. While there could have been more bonding scenes than the critical endangerment at stake, the romance is still as sublime as it is unique.
As far as supporting players go, Elisa's homosexual neighbor Giles is possibly the second most empathetic character thanks to his remorseful views on isolated loneliness as a fellow outcast. Next to Richard Jenkins' compassionate performance as Giles, Octavia Spencer shows a more level headed yet endearing worldview as Elisa's coworker Zelda, with enough stubborn loyalty towards her only friend to go a long way. As for the primary villain, Michael Shannon's convincingly threatening performance as Richard Strickland allows the film to get at its most intense due to his angered determination to utilize the creature for devious intentions. That said, the film is at its least intriguing when a subplot involving Soviet agents loses the central momentum and also distracts from the plot's central focus. The film's themes of differing worldviews work just fine without any need for foreign communism elements to become so apparent. Fortunately, the primary thrills and danger carry the film as well as the integral romance, so this plot is more of an added obstacle than anything else.
Much like del Toro's general filmography, the feature is visually impressive and packed to the brim with wonderfully crafted production qualities. Dan Laustsen's cinematography recreates the time period with natural authenticity as does Paul D. Austerberry's set designs, and the different locations can feel appropriately entrapping yet divine. Whether they be the cold and mucky laboratory, Elisa's warm and inventive apartment or even a grandiose movie palace, there is more than enough beauty within the decorative aesthetics to bring the more to life scene by scene. The costume designs also reflect the era quite well, which allow the creature to stick out well and come off as retroactively welcoming in spite of the grueling content. In addition, the lustful score by Alexandre Desplat blends harmonious enchantment with seething fright as the emotional fantasy mixes itself within the more grounded yet harsh reality. It's remarkable that the filmmakers made this on a $19 million budget, as the sets and visuals stand out much more than most massive budgeted fodder then and now.
As both a tribute to unconventional romances and an anti-ableist hero story, The Shape of Water manages to make the most of its unique characters and creative backdrops in flying colors. No matter how odd the concept might seem on paper, Guillermo del Toro is a filmmaker that can make even the most strange creatures worth embracing and rooting for in the grand scheme of things. Almost a decade since its initial release and this film still succeeds at finding the value within a fish man that most movies don't. It remains emotionally absorbent after all these years, no matter if its Best Picture Oscar was deserved or not.
The SpongeBob SquarePants Movie (2004)
To Stephen Hillenburg, Thanks for Everything! 20 Years Later
In the month of May 1999, not only did the late Stephen Hillenburg's beloved cartoon series SpongeBob SquarePants premiere on Nickelodeon worldwide, but I was also born during said month (not on the same day as the show though). Ever since then, not only did the wacky screwball show about an undersea sponge and his many nautical nonsense antics spawn numerous seasons and endless merchandise, but it also garnered movies and spinoffs in due time. Perhaps the penultimate pique of the show during Hillenburg's tenure has to be the movie, and you can tell by watching it that him and the team at United Plankton Pictures Inc. Truly stepped up their game to deliver on a fun filled series finale (or so they thought it would be).
Now that the first ever SpongeBob Movie is 20 years old, I would love to talk about it albeit with a personal take since everything that's been said about the film has been talked about ad nauseam. So to give my personal opinion on the movie in a short summary, I always thought of this feature as Nickelodeon's then take on the hero story originated by Homer (the author of Odyssey), especially since the plot details SpongeBob and his best friend Patrick embark on a quest to retrieve King Neptune crown that was stolen by his boss Mr. Krab's longtime rival Plankton. Anyone who's a die hard fan of the series knows all about Plankton's diabolical antics in trying to steal the Krabby Patty secret formula, so seeing him actually succeed in his goal via framing his business competitor and taking control of Bikini Bottom is quite the turn of events. While King Neptune himself isn't given enough of a focus to be very sympathetic beyond his vulnerable "thinning" hairline, his daughter Princess Mindy is the glue that holds SpongeBob & Patrick's heroic determination together to save Mr. Krabs and Bikini Bottom as a whole. Amidst the recurring cast of Tom Kenny, Bill Fagerbakke, Clancy Brown, Rodger Bumpass & Mr. Lawrence, Scarlett Johansson is a delight to listen to as Mindy's more open minded perspective compared to her father could put a smile on even the most cynical viewers' faces.
As for the actual journey itself, seeing SpongeBob and Patrick face numerous obstacles like a roughhouse club, luring monster traps and even a hired hitman is unlike anything the two had faced in the show beforehand. One could argue Hillenburg and the filmmakers intended to raise the stakes so the journey could be more challenging for the leading sponge and starfish, and they certainly succeeded in blending the show's usual cornball humor with intense thrills and dangerous opponents. The art direction is a night touch up as the lands and environments that the two encounter feel as frightening as the types of areas one shouldn't get into when leaving home. Also, the occasional mixing of live-action and animation still holds up today, especially once SpongeBob & Patrick retrieve the crown from Shell City and get back home thanks to David Hasselhoff. While not showcased all the time, seeing a different barrage of mediums like stop-motion, stylized CG puppetry and even rotoscoping elevate this feature to such fascinating creative heights that I personally don't think any subsequent SpongeBob feature has achieved since then. Admittedly, the opening scene of the pirates who end up watching the SpongeBob movie could be somewhat of a throw-off for some, but seeing them occasionally interact with the scenery is a nice touch (even if the epilogue falls flat.)
But lastly, the main thing that keeps the first SpongeBob movie so close to me is its unabashedly earnest reminder that it's ok to be who you are. Throughout the film, SpongeBob is not only referred to as a "kid" and not mature by the general population of Bikini Bottom, but he and Patrick struggle to act like "men" throughout their journey. Many of SpongeBob & Patrick's typical goofy antics range from blowing bubbles, eating ice cream, and worshipping the dancing peanut "Goofy Goober", which are admittedly juvenile, but they actually serve as aids for the characters as they rescue Neptune's crown in their own goofy way. That being said, one could view the subtext of Spongebob being called a "kid" as a critique on societal ableism and how the "normal" look down upon those who are seemingly immature by their standards. This is further established by SpongeBob initially being heartbroken at not being promoted to manager for the Krusty Krab 2 despite being a faithful and strong willed employee for his boss. With that in mind, the aforementioned societal framework was proven wrong thanks to SpongeBob and Patrick's passionate determination to get the crown and save their town for Mr. Krabs in the first place. Not only has this movie been a healthy if unconventional reminder for me that it's ok to be yourself (no matter how goofy or juvenile you might be), but it's also reminded me that you can make a difference despite what others think of you, and that alone will always lead me to singing its praises (as well as singing the banger soundtrack).
So while SpongeBob Squarepants is still going on to this day, I would argue that this movie works as a finale of sorts regardless. As Stephen Hillenburg chose to step down as showrunner following Nickelodeon's demand for more SpongeBob content and pursue other ventures, he left behind the show that made him a household name yet never forgot. I would argue this movie stands as a finale to Hillenburg's true vision of his own creation before it continued onwards, and everything else afterwards has more or less been a successive ongoing epilogue (make of the content as you will of course). Hillenburg would sadly pass away on November 26th, 2018 from ALS, but his legacy and importance within animation has lived on for years and years, enough so that fans worldwide have kept it alive with undying support and love. The SpongeBob Squarepants Movie stands as a testament to not only Hillenburg's love for cartooning and marine biology paying off beautifully, but also a reminder that those who were lucky to grow up during his show's prime can and should always hold onto their inner goofy goobers.
Thank you for everything, Stephen McDannell Hillenburg. Your signature directorial effort has stood the test of time for 20 years and shall hopefully do so for more.
But I'm a Cheerleader (1999)
Captures Grueling Social Commentary with Campy Delight
Back when actress Natasha Lyonne was becoming a recognizable name in the industry, one of her more beloved cult flicks was the 1999 satirical teen based comedy But I'm a Cheerleader. While the film was initially panned upon release from critics, it slowly garnered a cherished cult following within the LGBTQ community and has since stood well with an admirable legacy. Looking back at the feature, it's clear that director Jamie Babbit based the film largely on her own queer identity and the process behind reparative therapy, and the end result is quite remarkable if not appropriately campy.
The film tells the story of high school cheerleader Megan Bloomfield, whose parents send to a conversion therapy camp to "cure" her of her homosexualiy. At camp, despite realizing she is indeed a lesbian, Megan comes to embrace her sexuality rather than go through the therapy. Right from the get go, Babbit and screenwriter Brian Wayne Peterson execute the plot within a satirical lense, as Megan not only shows denial of her obvious lesbian traits, but the many people she meets at the camp display different quirks relating to their inner queerness. Thanks in large part to Natasha Lyonne's charismatic charm, Megan's emotionally damaging complexions come from how counterintuitive the camp truly is. However, her fluctuating feelings towards rebellious camper Graham Eaton is what makes the film gut wrenching as she learns to overcome her internal homophobia at the cost of being with her one true love. The desires within teenaged curiosity are explored through hilarity under one residential area, all with campy undertones in lieu of disillusioned adolescent development.
In addition to Megan and Graham contrasting each other dynamically, a lot of the other characters are fun to watch depending on their roles. Cathy Moriarty displays strict discipline as program director Mary Brown in spite of her son Rock making for attractive temptation towards the other male campers, and RuPaul Charles is also hilarious to watch in displaying the ex-gay coach Mike struggling to hide his true nature in front of the others. Many of the other campers aren't as well defined as Megan and Graham, but their distinct cynicism, optimism and vulnerability is shown to be critically crucial to their livelihood as much as it is for their parents, especially when some families are far more level headed than others. Since the film mocks these stereotypes within a campy sense of fun, it's easy to feel at ease within the humor amidst the severely serious tensions that are nonetheless still active in many families. At the end of the day, you can never be defined by your appearance because you are who you are, and the supporting cast are clear reminders of that timely concept.
As far as the presentation goes, much of the film's satire is riddled with bright color theory and playful staging. Since most of the film takes place within the camp itself, the seemingly isolating environment makes for a strong obstacle that does less to brainwash the campers than it does suffocate them. The campers are also defined by intense blues and pinks to contrast between the exaggeratedly artificial heteronormative views on masculinity and femininity, proving just how absurd forced conversion is in the short and long run. In addition, the editing punches the pacing up without making the courses feel as draining to the audience as it is to the campers, and the added touches of step by step categories and soundtrack montages just add into the camp value further. Speaking of music, on top of Pat Irwin's upbeat score complimenting the absurdist tone, the soundtrack features numbers worth grooving along to, which also fits how flamboyant one can feel whenever the fun kicks in. Sometimes specific filmmaking decisions can make your satire hit home harder than you think.
After 25 years in the spotlight, But I'm a Cheerleader successfully lampoons the ludicrous nature of conversation therapy whilst reminding the oppressed that it's ok to be who they are. Rather than take its subject matter seriously, the filmmakers managed to convey their disdain through the power of laughter and mockery and that alone is worth appreciating, especially since there is still lingering stupidity within homophobic hate groups. This is a must watch for absurdist comedy goers as well as anyone who is still questioning themselves, and you'll definitely find yourself easily immersed in one way or another.
Ghost (1990)
A Unique Romantic Drama Thriller with Supernaturalism
In 1990, Paramount Pictures released a supernatural romantic dramedy called Ghost, written by metaphysical writer Bruce Joel Rubin. Starring the likes of Patrick Swayze, Demi Moore and Whoopi Goldberg, the film only did so-so critically but was a monumental financial success and even garnered Rubin a Best Original Screenplay Oscar and Goldberg a Best Supporting Actress Oscar at the time. Looking back at the film more than 30 years since its release, it's easy to see why audiences latched onto this feature back then, as it manages to blend supernatural horror and emotional romance quite uniquely.
The film follows a banker named Sam Wheat who gets murdered and becomes a ghost. Along with the help of psychic Oda Mae Brown, Sam sets out to save his girlfriend, Molly Jensen, from the person who killed him. With the feature established as a love story with a twist on the afterlife, the cast are what drive the narrative together in terms of thrills, laughs and passion. Although the film doesn't explore how Molly feels as much as it focuses more on Sam trying to reconnect with her, Patrick Swayze carries the film through his character's fluctuating emotions as he tries to navigate his ghostly persona while protecting the love of his life from certain doom. It also adds some cool twists and turns as the plot thickens in detailing the murderer in question, Willie Lopez, and Sam's best friend Carl Bruner being not who he seems. That said, Whoopi Goldberg nearly steals the show displaying Oda's amazement and irritation as she communicates with Sam, and many of the film's funniest moments come courtesy of her interactions with the public as Sam guides her along the way.
Speaking of funny, despite director Jerry Zucker's background in spoof comedies, the film's tone manages to remain consistently thrilling and lighthearted at the same time. As Sam frantically scatters to protect Molly and Oda from the dangerous people after them, the pacing manages to be brisk yet menacing as the danger lingers onward beyond just the afterlife. There are some needed moments of levity such as Oda's ongoing encounters with the dead, but these scenes are far and few in between the more tragic elements that keep the film suspenseful and heartwarming, especially when the integral bond between Sam and Molly keeps the film's heart at bay. In fact, thanks in large part to the first act's lust and passion coming off so genuine, the most heartwarming sequence in the climax feels far more endearing than it could have been creepy, and you can't go wrong with the aid of Unchained Melody. In mixing the supernatural suspense with touches of surreal humor and life threatening danger, the movie manages to be odd yet gratifying in differing results.
As for other notable qualities, the special effects done on the film are sporadic and dated yet look charming from its central perspective. Since Sam spends some of the feature figuring out how to work his ghoulish abilities, the blending of ectoplasmic flesh within humans, walls, trains and even computers lends to many creative visual effects that elevate the thrills and laughs with subtlety and grace. At a time when special effects technology was still fairly primitive compared to today's advancements, the compositing works well within the New York City environments and the tight editing benefits the intensity that comes from the supernatural elements within the technological magic. Also, said intensity is in part thanks to Maurice Jarre's soothingly somber score that manages to sound haunting and harmonious at the same time. While the special effects are more remarkable for their time than today, the score still holds up and could make the most lighthearted viewers tear up, even by the time the abrupt and overly sentimental finale comes in to wrap things up.
Conceptually bizarre yet emotionally endearing, Ghost remains a poignant supernatural romance thanks to its strong cast, admirable mix of humor, horror and pathos, and some nice doses of charmingly archaic effects work. I would recommend this more as a goofy yet heartwarming romance that has just enough supernatural suspense and realistic intensity to get your attention stirred up. While one could argue the film might be less impactful today than it was back in 1990, there's no denying the cast and crew's passion was carried from script to screen, and that alone makes it an enduringly watchable flick.
Mean Girls (2004)
Still so Fetch 20 Years Later
For the last 20 years, Mean Girls has remained a high standard for teen comedies of the 21st century. In addition to satirizing the social status of high school back in the day, the film features immensely quotable performances from the likes of Lindsay Lohan, Rachel McAdams, Lacey Chabert, screenwriter Tina Fey, Tim Meadows, Lizzy Caplan and more. It's hard to quote iconic lines like "that's so fetch" or "on Wednesdays, we wear pink" without thinking of this feature. But does it actually hold up nowadays? In my opinion, yes.
What makes the narrative of former homeschooled teenager Cady Heron trying to fit in with an A-list clique of popular girls called the Clique work is the strong emphasis of envy screwing over Cady and her few relationships at the school they all go to. While initially the plot seems to go for a revenge based focus on getting back at leader Regina George for her atrocious behavior, Cady struggles to work with her "fake" clique role once Regina's ex Aaron Samuels comes into the picture, causing a lot of distrust and wrath between Cady, Regina and the outcasts Janis & Damian (Cady's only real friends). Thanks in large part to the aforementioned strong performances, especially from Lohan's relatable humorous narration, the conflicts demonstrated are both laugh out loud hilarious and hard to stomach due to everyone's lives being on the line as far as social statuses are concerned. In fact, it's also hard to not feel sorry for Regina at times thanks to Rachel McAdams' exaggerated yet emotionally fluctuating performance that shows a personally vulnerable side to the otherwise arrogant prima donna.
Mark Waters' direction, Tina Fey's screenplay and Daryn Okada's cinematography represent these trivial high school problems through a seemingly mundane experience that can often go haywire once the character's desires get to the better of them. Their tight collaboration between the ensemble cast helped pack some hysterical dialogue, zany school antics mixed within boring scenarios, and some of the most iconic wardrobe one has ever seen in a high school dramedy. Much like a lot of the culturally relevant dialogue, you'd be hard pressed to find anyone who could forget the dynamic costumes and makeup in the film, no matter if it's the high style outfits of Regina, Gretchen Wieners & Karen Smith, the funny holiday themed costumes or even club shirts. The soundtrack is also a pretty nice touch as well, although that's largely due to the mixing of then popular numbers and older jams. One can tell how much charisma still populates this feature regardless if it's within the soundtrack, the screenplay or the aesthetically authentic presentation.
All in all, it's not hard to recommend Mean Girls nowadays for its socially biting commentary on high school life and hysterically biting performances. That said, with a forgotten sequel and an infamous Broadway musical film adaptation released this year, it might be easier to gravitate towards the film that left the biggest impact on millennial teens onward. It remains one of Lindsay Lohan's best performances, one of Tina Fey's finest cinematic accomplishments, and a film for any generation to check out with morbid infatuation towards the pros and cons of high school tribalism and clique culture.
Purple Rain (1984)
Structurally Uneven yet Radiantly Charismatic
Looking back at modern rock legend Prince's greatest accomplishments, his 1984 musical drama Purple Rain has stood the test of time as a dated yet powerfully raw look into the man's phenomenal status and the punk rock scene of said era. Nowadays, not only has the film itself been deemed culturally and historically significant by the Library of Congress, but its accompanying album was a huge milestone of the decade that its finest hits are still listened to in today's world. So what is it about this feature that hits home so much for people after 40 years of being in the spotlight?
Set in Minneapolis, Minnesota, the film follows a talented musician called the Kid whose band, the Revolution, is a form of escapism from his dysfunctional home life. As the Kid navigates the club scene and his rocky relationship with aspiring singer, Apollonia, rival musician, Morris, looks to steal his spotlight. While seemingly built as a showcase of Prince's talent, as well as the Revolution itself, Purple Rain manages to wear in a disjoined yet gripping narrative about a beloved musician struggling to cope with his personal anger and those around him. One would have probably never imagined Prince could hold a narrative feature on his own, but the man manages to convey a sardonic semblance of cockiness with appropriate doses of jaded bitterness, making the Kid quite sympathetic to root for in spite of his bad attitude. His finer moments come when he allows his music to take form and when he shows his vulnerable generosity towards the gorgeous yet spunk Apollonia, but all of that is in lieu what many famous artists suffer from without trying to harm others.
Now in addition to Apollonia being the right blend of tough boldness and charismatic sauciness, the aforementioned Morris manages to appear suave and cool in spite of his greedy intentions to steal the fame away from the Kid. Seeing real life musician Morris Day portraying the character is hilarious in itself and one could interpret his performance as being satirical towards the jealousy and resentment rival musicians have towards those more popular than them. Also, Clarence Williams III and Olga Karlatos manage to make the two dimensional roles of the Kid's parents believably depressing and Williams' performed manipulative behavior allows us to feel sorry for his failed career while also resenting how far gone he went in despair. Beyond Prince and Morris Day, the likes of Jerome Benton, Jill Jones, Dez Dickerson, Wendy Melvoin and Lisa Coleman add into the natural believability of genuine musicians boasting their inner problems within the music scene. As a time capsule to the 80s punk rock scene, seeing notable names like them makes his feature thoroughly gratifying.
Speaking of time capsules, as this film was shot in the city of Minneapolis, the filmmakers managed to capture historical landmarks such as the IDS Center and the First Avenue nightclub with a passionate tribute towards the experimental rock scene of the early '80s. Many of the concert sequences are shot with strict attention to detail as far as creatively colorful lighting is concerned, and Donald E. Thorin's eye opening cinematography brings the crowded club scene to life so much that it feels like we're in the scenery dancing along to the beat. Also, director Albert Magnoli's editing experience benefits the pacing of the feature as it manages to transition from scene to scene without losing any momentum. In fact, it feels as if we're meant to experience the movie's flow like an emotional stream of consciousness in flying colors as the music paints the picture for us more than the dialogue does. Sometimes, rock musicals can get lost in the style and forget what the story is about, but in this case, Purple Rain managed to make its style as substantial as the soundtrack that accompanies it.
Finally, said soundtrack is not only part of what makes this film hold up so well, but it's hard to think of only one banger throughout the runtime. As many music critics have pointed out, the soundtrack's innovative aspects range from base-less melodies to synthesized instrumentation and full-band performances, all the while mixing the rock and R&B genres seamlessly. Cult favorites like "When Doves Cry", "Let's Go Crazy" and "Take Me with U" manage to move the story along with varying emotional value and briskly paced editing. In addition, some phenomenal choreography and improvised gestures can be seen with bands such as The Time and Apollonia 6, such as when "Jungle Love", "The Bird" and "Sex Shooter" appear. But of course, the film arguably hits home the hardest once the titular "Purple Rain" comes into the third act, showcasing how much development truly went into the Kid's passion projects after so much turmoil. Whether you're listening to the songs on their own or witnessing them visually in this movie, this soundtrack cannot be beat in terms of emotional virtue.
Structurally uneven yet radiantly charismatic, Purple Rain remains a true staple for the rock music subgenre in cinema, thanks in large part to Prince and the Revolution's phenomenal contributions to emotionally resonating numbers. Prince may have left us eight years ago, but his impact on pop culture and the revolutionary music scene can never be understated and this feature is a prime example of how much his legacy has lived on past his prime. I would recommend this as a must watch for Prince fans and casual music goers alike, especially if you're down for experimental rides of rock tributes too.
The Lost Chick (1935)
Cutesy yet Bittersweet Fable
While Hugh Harman & Rudolf Ising were often seen as Disney copycats and tended to make overly cutesy fodder in their time, they did grow from their usual tricks and make some short films that blended the sentimentality with a hint of cruelty and bitterness. Case in point, The Lost Chick works as a harsh fable about being too playful when you should be working to save yourself.
The primary story of a hen losing one of its eggs that ends up in the hands of two squirrels who think it's a nut establishes this moral from the get go, and while it might be easy to see the payoff coming, it nonetheless demonstrates how harsh of a lesson it is to go against the food you've collected for something you don't know of. The short itself does drag at points as it does spend a bit too much time on the squirrels trying to figure out what to do with the baby chick who hatches from the egg, but once the mother hen comes in to save her baby, the short takes a genuinely dark turn as the squirrels scramble to find food as winter sets in. It's a truly harrowing moment that is nonetheless benefited by a happy ending, but even at that, one could see it as salvation for the squirrels as they don't seem to have a mother or father.
Beyond the content, the art direction suits the late autumn atmosphere beautifully. Despite the short being processed in 2 strip Technicolor (or Cinecolor), the limited palettes allow the backgrounds and character designs to blend in suitably within the grim forest setting. Admittedly, the character designs are a bit unappealing for my tastes as they look cutesified to the point of looking ugly, but one could excuse Harman, Ising and their team as they were still learning how to make workable character designs around this time. That said, the chick itself is a delightful character on its own thanks to its design and movements, and the animators must have had fun making it work as a believable baby chicken that just happened to be animated. Scott Bradley's score is also a delightful contribution as it blends the soothing cute content with harsher melodies and choir gospels strongly.
With all of these contributing factors, The Lost Chick might be one of Harman & Ising's most underrated short films from their Happy Harmony series as it demonstrates their growth into more mature content from their typical slap happy juvenile output beforehand. While Harman himself would use this template for the arguably superior short film The Hungry Wolf years later, there's no denying that through this short, the two men were talented enough to progress beyond their humble beginnings and become admirable animation directors in their own right.
Kaze no tani no Naushika (1984)
Miyazaki's Sci-Fi Fantasy Magnum Opus
Before Studio Ghibli was formed in 1985, founders Hayao Miyazaki and Isao Takahata collaborated on an ambitious post apocalyptic fantasy film called Nausicaa of the Valley of the Wind. Based on Miyazaki's manga of the same name, the film was a huge hit in Japan upon its spring 1984 release and went on to receive long standing acclaim well after its director made a worldwide name for himself. Nowadays branded as a Studio Ghibli feature, the film has often been viewed as one of Miyazaki's most impactful achievements as a filmmaker, and I can safely say that it has stood the test of time immensely well.
Set in a post-ecocided world, the film follows a teenage princess named Nausicaä whose kingdom, the Valley of the Wind, gets invaded by the neighboring Tolmekian empire to develop an ancient weapon that will eradicate a mutant insect jungle. This is possibly the first Miyazaki helmed feature where his trademark themes of valuing life over war are executed in flying colors. With direct inspiration from authors like Ursula K. Le Guin, Isaac Asimov and Frank Herbert intact, Nausicaa is established as being more caring towards the crumbling nature surrounding her than the opposing kingdoms, all of whom are on the brink of industrial collapse due to their rotting environments. The pacifist subtext shown through Nausicaa's connection towards the Ohm insects demonstrates how mindless war corruption is compared to taking more level headed action through ecosystemic changes. Rather than glorifying the violence one would expect in these types of sci-fi action narratives, Miyazaki utilizes it to remind us how brutally consequential the outcome can be towards people trying to survive.
While Nausicaa herself is a strong protagonist all around, many of the people she encounters vary depending on their own views. Nobody is shown to be inherently good or evil so much as they are conflicted on how to protect themselves during corrupted times, especially the Tolmekian princess Kushana leading charge over the Valley based largely on fear and ill will rather than blind malice. Nausicaa's strong determination to fight against the reprehensible actions behind the Tolmekians and the additional kingdom of Pejite does cause more diluted chaos to embroil, but only at the behest of striving towards people with alternative views. Whether they be Kushana's boorishly smug right hand general Kurotowa or the Pejite prince Asbel yearning for similar ideas as Nausicaa yet wanting to fight for his own people, the various people trying to save themselves during dire stakes shows how complicated humanity manages to be no matter the era. Other notable characters who rarely fight fire with fire include the Valley's elderly swordsman Yupa and the wise woman Obaba.
Going beyond the timely themes, the animation direction is impeccable and bestows a fully realized world with direct sci-fi influence that nonetheless displays its own unique identity. In blending steampunk technology with decaying naturalism, the environments are crafted in such precisely grandiose scope and scale that it makes you want to live and breathe in said world, no matter how life threatening it may get. Many flying and action sequences practically scream epic without the need for bombastic music, although Joe Hisaishi's score is beautiful enough on its own. The team at the now defunct Topcraft brought Miyazaki's flourishing manga series to life with strict attention to artistic detail as well as elevating the character designs and animation to smooth yet graceful performances that allow the imagery to speak for itself far more than the dialogue does. Add on the aforementioned Hisaishi's mixing of 80s punk tracks and harmonious melodies to the scenery and you have quite possibly one of Hayao Mihyazaki's most impressively designed features of all time, if not his most.
Packed to the brim with passionate ideologies, strong characters and breathtaking animation, Nausicaa of the Valley of the Wind remains as culturally and significantly impactful today as it was back in 1984. Knowing how important it was to the development of Japanese fantasy animation and Studio Ghibli as a whole, this year is a perfect time to check it out on your own accord. With the Ghibli features getting more attention thanks to GKids, one can only imagine just how much impact this feature might have by the time it has gotten to 50 years in the spotlight, let alone 40.
Anora (2024)
A Love Story on the Bleeding Edge
I'll say this right now. I've never seen any of Sean Baker's movies (though The Florida Project has been on my watchlist forever), but after seeing Mikey Madison in Scream (2022), getting to see her in a role like this was remarkable to say the least. Madison would have probably stolen the show thanks in large part to her character's authentic Brooklyn accent and dangerously diluted sense of reality.
That being said, as Broey Deschanel said it best, this can best de described as a "gritty fairytale" since the film is primarily about the beleaguered marriage between a Brooklyn stripper and the son of a Russian oligarch. While it starts off exactly like the kind of razzle dazzle rich exploitation one would easily find in these kinds of storylines, the film takes an immediate 180 and turns into a realistically charged narrative about those under Ivan Zakharov's wealthy family trying to annul the whole ordeal. Many of the interactions feel heavily improvised but also briskly paced as Baker wastes almost no time jumping from scenario to scenario without allowing anyone to process what's occurring, just like how Anora (or Ani) feels about the whole ordeal. A lot of the supporting players are easy to feel sorry for as they are despicable, especially Ivan's caretaker Toros who's determination to track down the careless brat leads him to spiral out of control. Watching this film is no different than going on a bender, except the rush is a life or death situation.
Perhaps Anora can also be described as a cautionary tale about being careful what you wish for, since despite Ani's conflicting feelings towards her client turned husband, her sense of belonging in a dream life is ultimately too good to be true. Even though the film's outcome is exactly how it would be for anyone lower than the wealthy elite, there is still a sense of delusional hope that Ani could set things right with Ivan and his family. The commentary on classism within sex workers lingers within Ani's fantasy world to a point where it takes getting involved with dangerous opponents for her to get a cold but needed slap back into reality. Maybe not being involved with Ivan's family was the right call, but it's still depressing that one's chance to "live the dream" was ultimately far beyond anything they could comprehend. When a situation like this is so gray that the seemingly neutral henchman Igor feels empathetic towards both parties, you know that the damage has been done past the point of no return.
Do I recommend everyone check out Anora? Absolutely not. The themes and content are likely to be too much for those who are suited for it (and those of Russian descent might be torn overall). That said, if you're able to view this as a wake up call dramedy on the ramifications of something too good to be true, you'll definitely find some value to be sure. Plus, if nothing else, Mikey Madison is bound to get a lot more opportunities following this feature, which she rightfully deserves as she's proven to be multi talented in the grand scheme of things.
The Plague Dogs (1982)
A Life Threatening Adventure from Two Wanted Canines
Following the success of Martin Rosen's film adaptation of Watership Down, another feature based on a Richard Adams book was put into production. Released in 1982 (1985 in the United States), The Plague Dogs is a much more mature story than the other Adams novel and was also less known for many years because of that. Nowadays, the film is highly regarded for its dark content and emotionally distressing themes of animals going back to their primal roots to survive in the human world. Looking back on the film today, it might be one of the hardest dog focused features to watch yet it's endlessly captivating.
The film focuses on two dogs named Rowf and Snitter, who escape from a research laboratory in Great Britain, and become hunted as they retreat back to their animalistic ways. Established as an adventure drama, themes of cruelty brought on by performed vivisection and animal research for its own sake are partially what lead to our two protagonists seeking survival and losing faith in people. Rosen and the filmmakers pull no punches in displaying the inherent inhumanity from not only the horrific laboratory, but also in how humans view stray animals regardless of the circumstance. Seeing Rowf and Snitter struggle to protect themselves as escaped convicts becomes more and more harrowing as the adventure lingers with life threatening obstacles, so much so that it's hard to know how any human being will react towards them. Any sense of levity comes courtesy of John Hurt and Christopher Benjamin's grounded performances that carry the emotionally withering chemistry of Snitter and Rowf to such frightening heights, especially as they reluctantly become one with the wild.
Now most of the other characters in the film are additional humans who either attempt to show kindness to our leads or treat them like rubbish. The most notable have to be the doctors and lab technicians who supply ample narration on how they perceive the current events, which is essential for exposition but they can also blabber on too much at points when it's not needed. Beyond the humans, the most noteworthy side character is the Tod, a canny fox who helps them survive on wild animals while also coming off quite sly and cunning. Due to Tod's lifetime experience of living through nature, he makes for a strong guide as Rowf and Snitter's own lives are at stake, and his final scene alone could make one quiver in fear by his inevitable outcome. Also, without comparing Adams' original book too much, the dialogue is quite stark and mature without coming off as alienating, since it acts more as an adventure for struggle than it is a commentary on mindless experimentation. With grounded dialogue and side characters, this primal journey of survival feels all the more real and intense.
As this film is more grounded in reality than Watership Down, the art & animation direction is more bleak and pseudo realistic this time around. In addition to the characters looking as believable as dogs and humans can be, the movements are quite fluid yet restricted to their natural anatomy. The end result works so well that you truly feel like you're witnessing animals talking amongst one another. Beyond solid animation, the backdrops are lusciously atmospheric in recapturing the subdued grittiness of England's countryside, offering an almost photoesque approach to the look and feel of the natural wild. Even at the film's most gory or violent, there's a lot to appreciate in seeing animal mistreatment and naturalistic wildlife recreated with strict attention to detail that nonetheless feels like an artistic nightmare. Next to Patrick Gleeson's intense music score that heightens the adventure, the closing theme "Time and Tide" is a harmonious ballad accompanied by Alan Price's moving gospel performance. These noteworthy touches are what make this feature depressing yet eye opening.
In capturing the harsh realities of how dogs can be treated and perceived by human beings, The Plague Dogs is a harrowingly captivating adventure with appropriately mature content, strong lead characters and gorgeous realistic artistry. While I do recommend this film for its ambitions alone, it is not for the faint of heart and it's easy to feel cautious of it knowing how depressing the content can get. Unless you're unable to stomach it, this feature is a cautionary tale of what happens when you mistreat naturally beloved animals to such harsh degrees, and it's partially why we need to do better with dogs.
Joe (1970)
The Dangerous War between Generations
In late 1960s America, the countercultural movement was beginning to contrast negatively against the more straight laced crowd, especially between generations. Such topics were explored in numerous films at the time, including John G. Avildsen's 1970 drama Joe, starring the late Peter Boyle in the title role. Made on a shoe-string budget, the film was a huge financial success upon release and garnered critical acclaim for its dark comedic approach to its social attire. So looking back at the feature that made Boyle a recognizable name, it's safe to call it a small yet heavy handed dramedy that leaves an impact.
Set around New York City, the film follows business executive Bill Compton who's life falls into shambles after he kills his daughter Melissa's junkie boyfriend. Upon accidentally befriending a factory worker named Joe Curran, the two end up searching for Melissa while raiding the hippie scene. Now while initially structured as a sketchy look into the drug scene of the time, the film takes a scary turn once Bill Compton comes into the scene and makes life worse for himself and his whole family. Despite the societal differences at play, Bill proves to be no more civil in his primal instincts than the lower tier criminals his daughter hangs around. As for when Joe comes into the picture, he is established as a hardworking veteran with racist opinions and violent fantasies of murdering the hippies. Rather than blackmail Compton for his crime, Joe is more fascinated by the guy for pulling off a kill, and Peter Boyle conveys the character's gruff working class personality so well that you grow to admire Joe for his unruffled behavior as much as you despise his devious views at heart.
But while Boyle nearly steals the show here, Dennis Patrick also showcases Compton's truly animalistic nature in lieu of his upper class status. Much of the film's funniest scenes come courtesy of Joe and Bill bouncing back on their mentalities, so much so that an entire scene showing the Comptons dining at the Currans' residence can make one laugh and cringe at how intense the primary situation is. Also, this film marks the film acting debut of Susan Sarandon as Melissa, who displays rugged albeit beautiful vulnerability as her character becomes concerned for her own well being. In showing how few solutions there are in such a life threatening circumstance as what Compton has to face here, Avildsen and writer Norman Wexler capture the reality of problematic classism and reasonable paranoia within a grounded character driven backdrop, and the cast deliver on the hard hitting dilemmas. Even if the film concludes a bit too abruptly, it nonetheless proves how attempting to justify violence is in fixing an unsolvable problem, regardless of the generation.
Lastly, the film displays some intrinsic cultural phenomena of the time in lieu of its unbiased commentary. In addition to Exuma's upbeat folk track "You Don't know What's Going On" establishing what we're getting into from the start, Dean Michael's country sounding "Hey Joe" works as a strong character motif for the titular character's angry pro-American mentality that ends up becoming his worst trait possible. Composer Bobby Scott also livens up the intensity from scene to scene, showcasing a variety of early 70s orchestrations that give the film its own identity for the time. Also, Avildsen shot the feature as director of photography and his attention to detail in the natural New York settings allows for a lot of character to be presented around the journey. Arguably, the highlight of the cinematography has to be a pivotal psychedelic sequence featuring Bill, Joe and a group of radical pot smoking hippies, with lots of subdued reds to emphasize the aggressiveness of the scene. Despite the small budget, the filmmakers successfully captured their story within a harsh reality.
In not picking any side to root for and allowing the cast to truly sell the dangers on display, Joe is a thoroughly aggressive yet thought provoking drama that shows how succumbing to violence of any kind will lead you down a dark spiral, especially in regards to the people you meet. Arguably still relevant in some of its themes, the film's dated time periods works as both a time capsule to the effects of generational debacle and a cautionary tale in trying to justify your horrific mindset within the crimes you commit. It's brave and bold in more ways than one, but it certainly shouldn't make you wanna go to war.
Beverly Hills Cop: Axel F (2024)
A Welcome Return for Axel Foley's Shenanigans
Despite Axel Foley being absent for 30 years, Eddie Murphy and producer Jerry Bruckheimer brought the wise cracking Detroit cop back for a special legacy sequel, for Netflix no less. Released in July of this year, Beverly Hills Cop: Axel F is a solid followup to the franchise and has rightfully earned some warm responses from critics and audiences. So having seen this for the first time, what makes it work in spite of it having come out way after the initial trilogy's run?
The film follows Axel Foley returning to Beverly Hills after his estranged daughter Jane and his old partner Billy Rosewood's lives are threatened. As Axel tries to crack down a conspiracy behind the threats, he teams up with Jane's detective ex-boyfriend Bobby Abbott to help solve the case. Taking place three decades after the last installment is no easy task to break things down, but the filmmakers managed to keep the story concise enough without feeling as if too much time has passed by. Axel is still working as an officer yet his friends are either retired or have gone under different paths. Despite that, Murphy still pulls off the role well, blending the character's older age and experience with his trademark wise cracking personality that audiences know him so well for. Much of the film's funniest moments derive from how infamously famous Foley is around Beverly Hills and the numerous minor convos he gets himself out of using his streetwise smarts and charismatic energy. No matter how old Foley might get, his unconventional antics have not soured yet.
Admittedly, the film's primary story is pretty standard as the typical tropes one would expect in a strained parent-child relationship are here as well. While Jane is established as similar yet unique from Axel and her reasons for resenting him make sense from her perspective, the chemistry she and her father share isn't all that interesting and she doesn't rise above the usual "upset adult daughter" trope. Fortunately, the addition of Bobby Abbott does make things more engaging as he ends up risking much of his own morals to aid Axel and Jane in the case, elevated by Joseph Gordon-Levitt's grounded yet concerned presence. That said, Kevin Bacon's character is surprisingly less interesting than one would expect, although he does his best in coming off as charmingly intimidating. Much of the other characters outside of recurring players are just typical plot fodder, and certain characters like Jane's client Enriquez and his uncle Chalino are forgotten as soon as their seemingly vital scenes are done. It's more fun to see the likes of Judge Reinhold, John Ashton and Paul Reiser back as their usual selves, but you just need to get through some uninteresting minor roles to see them shine again.
In addition to the comedy, the action is a lot of fun to watch compared to the third film, although arguably not as punchy as the first two installments. Director Mark Molloy took full advantage of the feature's $150 million budget, as many elaborately staged truck / car chases are sprinkled throughout the right places. The editing helps out in many areas as the pacing can fluctuate between the mundane and the intense, showing how there's never a dull moment when Axel Foley is on the case. Much of the fun in these sequences come courtesy of songs used in the first two movies, especially "Neutron Dance" and "Shakedown." While these touches are clearly nostalgia oriented, they feel right at home here in juicing the action up further, along with some newer tracks like "Here We Go!" by Lil Nas X and composer Lorne Balfe's modernized rendition of "Axel F". As ordinary as the film's story is, these bits of playful intensity make the experience enjoyable enough to make up for the slower moments that could drag the movie down for some, and that alone should be worth something.
So while arguably not as punchy or substantial as the first two installments, Beverly Hills Cop: Axel F is a vast improvement over the third feature in terms of fun and scale. Now that Eddie Murphy has garnered a decent renaissance for himself in the last few years, seeing a legacy sequel within one of his most popular film series turn out as decent as this one did means a lot in the long run. In honor of the first movie turning 40 years old and John Ashton passing away recently, this year is a perfect time to get back into the series. A welcome return this is indeed.
Halloween (1978)
Remains a Classic for the Ages
All the way back in 1978, an independent slasher flick from newcomer horror director John Carpenter came out called Halloween. Not only was the film a colossal hit upon release, but it spawned a long lasting franchise and brought the serial killer Michael Myers instant iconography. Looking back at the film so many years later, regardless of it being inspired by the likes of Psycho, it manages to play up the suspense pretty well in the long run.
Set 15 years after mental patient Michael Myers murdered his teenage sister on Halloween night, he escapes and returns to his hometown Haddonfield, Illinois where he creepily stalks teenage babysitter Laurie Strode and her friends. As a simple tale of stalking and persistence from a severely dangerous monster, Michael Myers remains a truly frightening foe due to his limited screen appearances and pantomime performance. The wheezing looming predator of a man makes for an intimidating presence, although some of his antics could lead to more laughs due to the low budget thrills not coming off super strong today. Fortunately, the shift from mindless gore towards moody atmosphere sells the film's creepy factor effectively well, especially thanks to Carpenter's pivotal score. Much like the finest horror tunes out there, the music is played with minimal keys and repetitious beats that could send chills down anyone's spine.
But beyond the minimal atmospheric approach, the cast is also pretty solid, most notably through the main character Laurie. In her very first film role, Jamie Lee Curtis proved to be a strong lead player in making Laurie appear normal and chill before her mundane Halloween is threatened by a mysterious killer. Because we're able to spend a good amount of time getting to know Laurie and her friends before Myers comes in for the worse, the stakes are raised to a large degree. In addition, Donald Pleasence sells the stern paranoia of Myer's psychiatrist, Dr. Loomis, quite well, delivering successful desperation gestures and bold monologues on the true evil state of the killer. Many of the other characters are either victims of Michael's murderous spree or typical out lookers on the events proceeding everything. That said, much like the two leads, they're all sympathetic enough to hope that the murderous serial killer doesn't get them too soon.
While Halloween has garnered an endless amount of sequels, spinoffs and reboots, the original John Carpenter helmed feature works great as a slow paced yet chillingly haunting treat for the season. In blending teen relatability with a striking sense of fear, Carpenter and producer / co-writer Debra Hill managed to pull off a thoroughly inspired slasher with a concise premise and quality low budget elements. They say to watch out for the boogeyman, but what they really mean is to watch out for it on Halloween night, questions asked.
Young Frankenstein (1974)
Still the Scariest Comedy of All Time 50 Years Later
If anyone were to ask me what my all time favorite Mel Brooks film is, look no further than his 1974 collaboration with Gene Wilder, Young Frankenstein. Made as a spoof / tribute to the Universal monster movies based on Mary Shelley's Frankenstein novel, the film was a colossal success with critics and audiences and has even been deemed by Brooks himself as his finest directorial achievement. Looking back on the film 50 years since its release, while I don't consider it to be Brooks' funniest feature he has made, it succeeds the most as a parody whilst continuing within the legacy of its own subject matter.
The film follows the estranged grandson of Dr. Victor Frankenstein, Frederick, who inherits the castle of his grandfather. Upon regaining interest in his grandfather's reanimation experiment process, Victor brings a man to life albeit with maddening results. While inherently established as a followup to the classic Frankenstein series, Brooks and Gene Wilder pay their humblest tribute to the source material by both lampooning the genre and also telling a wonderfully concise story on how family history can make or break anyone and anything. What sells the film so well as a comedic horror romp is how straight and serious minded a lot of the actors come off, especially Wilder, and yet that in turn makes his inevitable outbursts even funnier. In addition, Wilder bounces off superbly with his co-stars, most notably Marty Feldman's show stealing kooky performance as Igor. The addition of Teri Garr as the pretty assistant Inga also adds into the grounded yet raucous humor, but Feldman's numerous ad libs and oddball mannerisms are just part of the film's comical triumphs.
But beyond a stellar ensemble cast, including Kenneth Mars as the wooden armed Inspector Kemp and Cloris Leachman as the sternly flamboyant housekeeper Frau Blucher, Peter Boyle manages to keep the heart and humor together throughout the runtime as the monster itself. As the creature is portrayed in a mentally abnormal manner, Boyle carries the grunts and pain within the creature through genuine humanity that makes one feel sorry for the poor creature. Of course, his interactions with Frederick's fiance Elizabeth truly elevate the laughs in true steamy fashion, and Madeline Kahn could not have been a better choice in hamming the lowbrow material. While Young Frankenstein has a lot of memorable laugh out loud moments, including the dazzling "Puttin' on the Ritz" number and Gene Hackman's delightful blind man scene, it is arguably just as effective within the emotional pathos as we see Frederick do all he can to fix the problem he caused, and it's amazing how much Wilder and Boyle were able to convey such divine interactions as scientist and invention.
Another big reason this movie succeeds so well as a parody is its miraculous recreation of the production design seen in the old Frankenstein pictures. Not only does the black & white cinematography fit the content perfectly, but the elaborate usage of Kenneth Strickfaden's lab equipment allows for many of the most thrilling sequences to pay off in flying proportions. The sound work is also a major component as the suspense benefits the horrific atmosphere, and even the lightning effects practically become characters of their own in this movie. Also, John Morris's beautiful lullaby-esque score works as both a necessary motif for the content at hand and and a major contributing factor to the laughs and scares working in tandem together. Made during a time when interest in old horror cinema had long since dwindled, Brooks and his team went out of their way to recapture the magic of said media to a wonderful degree. The gracious screenplay is already splendid as a tribute, yet the general presentation is what truly makes this movie stand the test of time.
Many horror movie parodies have been around for as long as the subgenre has, but arguably none have come close to topping the phenomenally flattering homage that Young Frankenstein bestowed on the world. Seeing two entertainment legends collaborate so perfectly in sync together is still as remarkable as it was 50 years ago, and that is why this year is the perfect time to check out the feature once again. Considering how much this effort has remained untouched within film and comedy history, it should go without saying that the Frankenstein series is a lot more special thanks to this movie.
Joker: Folie à Deux (2024)
What Was Even the Point Here?
Although the controversial 2019 Joker movie with Joaquin Phoenix was initially intended as just a standalone feature, Warner Bros. Still wanted to cash in on the film's success (and Phoenix himself was apparently curious to explore more of Arthur Fleck's character). Despite initial reluctance from director Todd Phillips to make a followup, the semi anticipated sequel Joker: Folie à Deux was released as of this month. In a complete surprise turn, the film has proven to be a box office disaster and has gotten slammed by critics and audiences. But what is it about this sequel that got such a nasty response from the public?
The film follows Arthur Fleck who is now awaiting trial for his murderous crimes. Upon discovering true love in the form of obsessed inmate Harleen "Lee" Quinzel, Arthur finds the music inside him while also struggling with his dual identity. Now despite Fleck himself having a concise conclusion arc in the first film, the sequel does provide a somewhat interesting storyline where his infatuation towards Lee and his Joker persona leads him on a dangerous path towards his inevitable sentence. Unfortunately, the plot poorly fluctuates between serious dramatic tension and delusional love through musical entertainment. As much as musicals are a phenomenal form of creative narrative storytelling and showing Fleck's fantasies in razzle dazzle spectacle do make sense in his diluted victim complex mind, the film doesn't commit to the musical genre enough to justify the lavish production numbers or Lady Gaga and Phoenix singing together. Had this been done with more thought and focus, the film could have been a full fledged musical instead of a confused hodgepodge not knowing what it's doing.
As an actual continuation of the first movie, Arthur's conflicting feelings towards Lee are aided by Lady Gaga's fascinating performance, blending Lee in a mentally sick yet charismatically manipulative fashion. Her character in the film causes severe turmoil as Arthur juggles between his abusive prison guards, his reasonable lawyer and the witnesses going against him. However, on top of Lee's character not being fully utilized beyond her infatuation with the Joker persona over Arthur himself, the aforementioned poorly integrated musical numbers make it hard to gain momentum in the already paper thin plot. The closest to genuine momentum in the feature comes from the trial scenes, especially when past witnesses of Arthur's actions come into play. Two notable stand out sequences come from Zazie Beetz and Leigh Gill returning as their former characters and they make the most out of their limited screen time in which you truly feel sorry for their aftermath of Arthur's downward spiral. When the boring court drama is better executed than the romantic plot, there's a definite problem to be sure.
Now for all of the movie's failures to fully commit to its fascinating concepts, I don't think it actually would've been so subpar had it not been for the disastrous third act. In addition to the primary court drama and romantic intrigue, Arthur barely hangs by a thread in being severely abused by the Arkham security staff while also garnering admiration from his fellow deranged inmates. In true artistic spiraling, director Todd Phillips and the filmmakers chose to execute this scenario by leading Arthur to realize the consequences of his actions all the while showing him trying to escape his dangerous followers that only want Joker and not the real Fleck. One could argue that this was done to show how little interest Phillips had in actually making a Joker sequel to begin with, and if you ask me, the third act feels like the crew were deliberately sabotaging everything having to do with further Joaquin Phoenix Joker installments in the least subtle compromise possible. I can't say I never imagined a director going so far out of their way to kill the disaster they unleashed into the world, but there we are.
So on top of Joker: Folie a Deux not knowing whether to commit to a deranged musical narrative or a court drama spiral, the execution of the storyline as a whole leads one to believe that the filmmakers went out of their way to sabotage this feature. When one realizes how little interest Todd Phillips had in making a followup to begin with, I think it's best that we acknowledge who the real enemy is here: the diluted corporate decision making that causes a $200 million dollar trainwreck to collapse on itself. Maybe this movie should be a wakeup call to everyone who thinks that studios and filmmakers have your biggest interests (looking at your brainwashed Joker fans).
Ginger Snaps (2000)
Sisterly Conflict at its Most Supernatural
So you make a blood oath with your sister that you'll protect them or be by their side at all costs until death comes your way? Makes sense I suppose.
That being said, this is still a pretty fun ride of a movie complete with hysterical yet believable performances (especially the leads Emily Perkins and Katharine Isabelle) and an interesting perspective on teen drama from the POV of death obsessed outcasts. Admittedly, the lower budget does work against the film as it normally doesn't look any different from your standard televised teen production. However, the darker nighttime sequences are much more intriguing with many of the scares occurring in a vaguely bleak presentation so your mind can fill in the blanks. The film also makes good usage of gory makeup and effects, and it's rare to see such a macabre supernatural flick go this far in making you feel sick in all the right ways.
But perhaps the biggest factor of this film being remembered so fondly is because of the conflicting relationship between the main characters, Brigitte and Ginger Fitzgerald. Being sisters who are morbidly fascinated by death and deception, their relationship is put to the test once Ginger begins to change for the worse. Part commentary of teen development, part look into familial conflict in regards to their concerned mother Pamela, and part romantic drama once boys come into the mix, there's a lot of subject matter to tackle here that could have easily been hard to keep track of. Thankfully, the plot is primarily focused on the straining relationship between both sisters as one is more concerned about horrific change than the other. It all makes for a really frightening yet heartbreaking climax that leads us to wonder what could have happened had both sisters been more considerate of one another in the long run.
What's interesting to note about Ginger Snaps is that it garnered critical acclaim back in its initial 2001 release yet barely got any public attention and underperformed financially. Following huge sales on home video, the film would then garner an even better reception and both a sequel and prequel in 2004. I say this because now that they're all at least 20 years old by now, there's a good chance it'll get more fans and viewers within this current year onward. You never know what obscure treasures will get the attention they should have gotten long ago.
Fright Night (1985)
Imperfect yet Enjoyably Campy Vampire Mystery
In 1985, a campy supernatural horror flick called Fright Night was released to strong reviews and modest financial success. It managed to spawn a sequel in 1988 and a remake in 2011, so there was definitely some value to be had with the premise of a teenager who tries to prove that his next-door neighbor is a vampire. As for looking at the film nowadays, it was definitely a fun old time even if it also fell short in a few places for me.
Now the first act is probably the weakest part of the whole movie as the main character Charley Brewster tries and fails to get his friends, family and even the authorities to believe that his neighbor Jerry Dandrige is a murderous vampire. While it does add into the suspense, it also drags the plot too much and sets up lame relationship problems with Charley and his girlfriend Amy Peterson. I've never been a fan of misunderstandings in relationships in lieu of only one person seeing true evil when no one else does and it doesn't help when Charley's insufferable friend "Evil Ed" makes things more annoying for the poor guy. As obnoxious as Charley may be, he still has every reason to be worried about the safety of others, especially when Jerry threatens his very existence. In fact, Chris Sarandon nearly steals the show in every scene he's in by blending Jerry's seemingly lax sarcastic attitude and true horrific nature seamlessly, thus making his actual appearance all the more frightening when he comes up.
Fortunately, things do pick up the slack more by the second act once Charley tries getting the help of horror program host Peter Vincent, a fictional vampire hunter who is much more vulnerable and easily frightened in real life. Thanks in large part to Roddy McDowall's performance, Vincent is perhaps the most relatable character in the whole movie due to his weary deliveries meshing with his sternly human qualities in a fashionable and down to earth manner. In addition, the stakes do rise once Jerry threatens everyone in Charley's life, including Amy who resembles someone he once loved. This is where the uncomfortable tension is truly creepy once Jerry's lust kicks in, though one could argue him being the villain makes this factor less problematic in theory (it's not to me). That said, it still motivates Charley enough to go after his foe in a brave yet vulnerable manner, especially once the slow yet insane third act kicks in.
As far as other notable qualities are concerned, the set of Jerry Dandrige's home is quite remarkable from an interior design perspective. It feels welcoming at first glance yet is also quite sinister in its bleak perimeters and gothic architecture, aided further by harsh lighting and macabre decorations. In addition, the special effects work is elevated within the feature's budgetary limitations and thus make the likes of demonic red eyes, sparse yet intense bat and creature puppetry, ghoulish costume attire and practical gore makeup stand out accordingly. For all of the film's pacing issues, the cast and crew definitely had a lot of fun in making the most out of the production qualities to recreate a freaky supernatural film that knows when to not take itself too seriously. Perhaps the most dated aspect of the whole movie is Brad Fiedel's score that makes extensive usage of synthesized 80s orchestrations, although they are certainly more memorable than the terrifying compositions. Considering how much fun this film had within its material, this score is taken advantage of just enough.
In combining humor and thrills within a campy vampire flick, Fright Night is a mostly enjoyable romp thanks to the fun the filmmakers were having with the content in spite of any story momentum going awry. If you're looking for a vampire driven mystery that takes itself less seriously than most vampires films out there, this should be right up your alley. It's funny how some cult horror features come and go from their time in the sun, but there's still some appeal to be found in this one.
The Craft (1996)
A Campy Nonconformist Teen Flick for the Ages
Ever imagined what would happen if you joined a witch's cult and tried to get away from it? In the case of the 1996 cult supernatural classic The Craft, it focuses on four outcast high school girls who pursue witchcraft for themselves, only to subsequently experience negative repercussions and enter a downward spiral once the outsider tries to leave. That outsider in question, Sarah Bailey, is your typical fish out of water character who tries to fit in but is only able to make friends with the witchcraft trio of Nancy Downs, Bonnie Harper and Rochelle Zimmerman.
Right off the bat, the group have great teen romping chemistry with each other, and actors Robin Tunney, Fairuza Balk, Neve Campbell and Rachel True manage to portray the worst qualities in bratty outcasted high schoolers while also making them sympathetic. In addition to Sarah playing hard to get with the popular jock Chris Hooker, Bonnie's body scars and Rochelle's encounters with racist bullies are good establishing motivations to use magic for beneficial matters. That said, Balk steals the show in showing Nancy's eventual downfall in going too far with her abuse of power, and despite her initial success in getting her and her mom away from her abusive stepfather, she ends up abusing and killing others in the name of magic and unironically goes against the reason she and her friends got the spells in the first place.
Admittedly, the film's campy usage of effects driven magic might override the apparent feminist themes it's trying to convey due to how heavy handed its approach to abusing others with magic can be. That said, seeing this time capsule of female independence and nonconformity from a very specific era in teen cinema still gives it its own unique identity that allows one to appreciate what the filmmakers were going for. It also knows how to balance the campy humor with the mesmerizing horror seamlessly as things go further downhill for Sarah as her own life ends up in jeopardy from the petty yet diabolical wrath of Nancy's seemingly unstoppable power. It's these frightening qualities that not only maker Sarah a much stronger character than one would think, but also give us a reminder to not mess with certain people or else the consequences will be far more severe than having your powers taken away.
When The Craft came out, director Andrew Fleming and producer Douglas Wick managed to put together a thoroughly intrinsic postmodern witch narrative that flipped the high school dramedy craze successfully. Thanks in large part to its ever appealing cast and fascinating blend of campy horror and teen angst, this film has aged quite well today and could be one of the more inspirational teen flicks of its time and now. Given it had a legacy sequel not too long ago, this month is the perfect time to check out the feature for your own curiosity. Its cult status cannot be understated and you'll see why once you bestow your eyes on it.
Eraserhead (1977)
Unlike Anything Out There in the Body Horror Genre
In 1977, a then brand new surrealist filmmaker named David Lynch released his feature length directorial debut called Eraserhead. What initially started off as Lynch's thesis project at the American Film Institute ended up taking five to seven years to put together due to insufficient funding. After getting a lot of attention from midnight movie screenings following its middling release, the film went from being deemed a cult gem to one of the most celebrated surreal body horror films of the 20th century. So looking back at the film that put Lynch on the map, what exactly makes it stand out so well?
Now the basic premise of the film is that a man named Henry Spencer is left to look after his grossly deformed child in a desolate industrial landscape. Right off the bat, the film is primarily about the worrisome nature of parenthood, and considering that Lynch loosely based the feature off his time living in the then rundown areas of Philadelphia and his own daughter initially being born with clubbed feet, it's easy to see where he was able to take these concepts into surreal territory. While the narrative itself is pretty straight forward, the connecting scenes are executed in an almost nightmarish Kafke-esque world where even a scene of Henry meeting his in-laws is simultaneously disturbing and hilarious due to the immersive surreality that Lynch introduces us to. Admittedly, this might also work against the feature as even if you do grasp what's going on, the basic structure could lead one to question why the movie wasn't just made under 40 minutes.
Fortunately, the cast do make the feature stick out well in addition to the creepy imagery bestowed on us. Jack Nance in particular carries the film on his shoulders portraying Henry with a pacifistic disgust that makes it easy to empathize with him in the strange world he inhabits, and even his girlfriend Mary is shown to have a relatable resentment towards their deformed son. In addition to strangely designed yet intriguing symbols such as the Lady in the Radiator and the Man in the Planet, the Beautiful Girl Across the Hall is representative of Henry's alternative desires that he cannot control, although she isn't all that interesting otherwise. It's also good to mention that there isn't much dialogue in the film, but the cast say so much more with their facial expressions, Nance especially. Much like how an artist exaggerates their work by means of interpreting a subjective view of reality, Lynch managed to direct the actors in an artistically bizarre fashion that makes them truly feel like people not from our world, no matter how believable they may be in their roles.
Now as far as the baby goes, while everyone has been pondering how Lynch crafted the model and puppet to this day, I'm more curious as to how he and sound designer Alan Splet created the baby's unique screams, cries and cackles. It's already apparent how bleak and dreamlike the black & white cinematography is in selling the surreal world of Eraserhead's own identity, which also allows for the grotesque imagery to look more palatable, but I'd argue the sound design and music score truly makes the feature work to its advantage. The densely layered reverberating sound effects give off the transcendental flow that Lynch always went for in his earliest work, and the diagetic music shown in settings like Henry's broken apartment and the Radiator Lady's stage area are as hypnotically dreamlike as they are internally disturbing. Lynch himself did most of the score and his personal touches truly shine in the audio, and if it weren't for those additional touches of intrinsic nightmare fuel, the film would arguably have not been the same otherwise.
It's easy to say that Eraserhead is painfully confusing from start to finish, but the intriguing broken setting, fascinating characters, and unrelenting creativity in both practical effects and layered sound work are what make the film worth watching. While Lynch has gone on to do arguably more fascinating work since his debut movie, there's no denying how culturally significant and artistically important this film was in making him a household name, let alone for the arthouse horror scene. There's never a bad time to watch the film and there's also never a bad reason to recommend it to others who aren't familiar with Lynch's filmography. You might not get it, but you'll definitely keep thinking about it.
Damien: Omen II (1978)
Cash Grab Followup that Almost Works
Following The Omen's unexpected slam dunk at the box office, a sequel was put into production by producer Harvey Bernhard, who also wrote the initial script. Released in 1978 as Damien - Omen II, the film did well commercially but only got a mixed critical reception and has not earned a strong later day reputation like its predecessor. Looking at the film nowadays, it did appear to have a lot of promise in focusing on a now pubescent Damien Thorn discovering who he really is. However, the final result is more interesting in theory than in execution since this film can't help but cash in on its predecessor's success.
Set seven years after the events of the first film, Damien Thorn has been raised by his wealthy aunt Ann and uncle Richard Thorn whilst being enrolled in military school. After soon discovering that he is the Antichrist, Damien attempts to seize control of his uncle's business empire. As mentioned before, this premise has a lot of potential to develop Damien past his initial childhood and see how realizing his true persona could affect his own life, let alone those around him. Unfortunately, the film uses this potential as more of a subplot compared to focusing on Richard Thorn witnessing similarly horrific deaths and tragedies like in the original, making it all the more obvious that this film would rather milk the thrills for all their worth. Despite William Holden's best efforts to emphasize Richard's growing anger and fear, he doesn't add much to his boring business scenes and character interactions. If anything, the individuals who get killed off are far more impactful, including Richard's concerned aunt Marion and photojournalist Joan Hart, as brief as their appearances are.
With that in mind, it should go without saying that the sequel is at its most effective whenever the horror steps in, but the connecting elements of Richard's meetings and Damien attending military academy are nowhere near as interesting. Despite a lot of initial heart stemming from the brotherly relationship between Damien and his cousin Mark, there simply isn't enough screen time to develop their genuine feelings to make Mark's discovery of who Damien is all that shocking. Jonathan Scott-Taylor is well cast as Damien balancing his inner emotional turmoil with his devious side, but the film hardly spends much time seeing his thought process enough to make his penultimate decision to do bad believable. Even the promising inclusion of Lance Henriksen as Sergeant Daniel Neff isn't utilized enough to make his role as a proper guide for Damien substantial enough in the long run. As usual, Jerry Goldsmith's score remains the true highlight here and is even bigger and more dramatic than before. It's about the most consistent quality in this mixed bag of a sequel.
So while Damien - Omen II had all of the right ingredients to make for a truly substantial followup to The Omen, it sadly squandered those opportunities with an inconsistent narrative, boring main characters, and an underutilization of world development in favor of creepy thrills. I would primarily recommend this feature to fans of the first film, and even at that, there's other Omen properties that could be worth your time more. This film is definitely far from being terrible as it still offers some exciting ghoulish scares to go around, but you just have to get through a slog of boring underdeveloped scenes to get to them.
The Omen (1976)
A Cautionary Tale of Life Threatening Proportions
In 1976, a supernatural horror film was released called The Omen, which was essentially about the Antichrist in the form of a child. Despite garnering a mixed critical reception upon its initial summer release, the film was a huge financial success and garnered not only Oscar recognition for its impeccable music, but also spawned numerous sequels, a remake in 2006 and a prequel that came out this year. Nowadays, the film has earned a strong reputation as one of the most iconic horror films of the '70s. Having said all of that, for all of the film's accomplishments, I'd argue that it only works to an extent.
The film follows diplomat Robert Thorn who replaces him and his wife's stillborn son with a young child whom they name Damien. Following a series of mysterious deaths occurring around the family as Damien grows up, the Thorns eventually discover that he is the prophesied Antichrist. Now with this premise intact, The Omen is more of a mystery leading up to what Damien eventually is albeit with stubborn superstition rather than a full on exploration of Damien as a whole. Personally, I think the film would have been more impactful to focus more on Damien's point of view rather than Robert's, but knowing the guilt he has been hiding from his wife makes the build up to Damien's origins does at least add in some poignant drama in an otherwise frightening feature. Admittedly, a lot of the thrills and scares come off as comical by today's standards due to some exaggerated murders and silly line deliveries. That said, the film is arguably at its scariest anytime Damien is around, showing how unsuspecting those we are truly unfamiliar with are when left unchecked, adopted or not.
Now while the film's tone can often fall short of being truly scary much of the time, Gregory Peck takes his role as Robert Thorn seriously enough to keep the more unintentionally funny sequences from ruining the film as a whole. Lee Remick also portrays his wife Kathy with reasonable vulnerability and trembling paranoia quite well, and David Warner keeps the momentum of the mysteries behind the deathly encounters smoothly keeping Keith Jennings's intrigue up. That said, Billie Whitelaw truly shines as Damien's suspicious nanny Mrs. Baylock, as her seemingly laid back appearance feels in lieu of something more sinister at bay. A lot of the other characters are more or less religious figures and victims who get different outcomes depending on the scene, but the cast make the most out of David Seltzer's convoluted script. Perhaps part of the film's unintentional hilarity lies in how level headed the cast come off as, although since the religious aspects are hard to grasp on first glance, the down to Earth performances are needed so that some semblance of reality is kept here.
In regards to other notable qualities, Jerry Goldsmith's Oscar winning score is perhaps the film's penultimate highlight due to its somber ambience and foreboding Latin chants. Next to the film's theme song Ave Satani feeling like a satanic vocal nightmare, the score accompanies the film so seamlessly that the suspense is intensified thanks to its mere presence, making even the quieter moments spine tingling from simple percussions. Less effective than the foreboding score is the cluttered editing which can speed from one scene to the next without proper pacing and also make some deaths all the more laughable from the terrible jump cuts alone. Although primarily shot in England, the filmmakers utilized natural weather and set aesthetics to accumulate fear from the most terrifying of ordeals, and it's quite fascinating how many deathtraps they managed to make out of the Thorn's fancy estate home. While not all of the filmmaking qualities worked out too well here, some of the finer spit & polish on display can be attributed to those who knew how to scare people with so little.
While not successfully scary in every capacity or fully developed in terms of narrative structure, The Omen is still a mostly dread inducing classic with enough strong performances, creative horror tactics and chilling music to make it worth one's curiosity. As mentioned before, The First Omen has come out this year, so now would be a great time to look back at the feature that kickstarted such a lucrative franchise, let alone the prestigious career of its director Richard Donner. Any opinions on religion aside, there is a lot to be said here about a life threatening warning disguised as a human child.
Night of the Living Dead (1968)
The Zombie Flick that Really Started it All
The late George A. Romero was a legend in horror filmmaking as far as innovating the zombie sub genre into the mainstream. Going as far back as his directorial debut, Night of the Living Dead, the film was immediately controversial back in its original 1968 release but was nonetheless a ginormous hit given its low budget. Since then, the film grew steadily over time to the point of being regarded as a milestone in horror cinema and even spawned a lucrative franchise that cemented Romero as a horror icon. So looking back at the film that started it all, it's easy to see why it remains such a pivotal picture today.
Set in rural Pennsylvania, the film follows seven people who get trapped in a broken farmhouse whilst trying to avoid an abundance of reanimated corpses. With this basic premise set in stone, Romero and co-writer John Russo emphasize the claustrophobic paranoia within the targeted people who are desperate to fight off against the undead. Considering that audiences of the late '60s had no idea what to make of the creatures at the time, it's easy to imagine that viewers were being introduced to the zombie (or ghouls as referred to here) just like the leading characters. In spite of the low budget, Romero and the filmmakers made the most out of the characters bickering with each other in lieu of the slow moving creatures migrating towards the house, almost as if we're watching a play that happens to be filmed. This level of claustrophobia is aided by everyone's hope that the televised news report will make everything ok with each report that comes along, which only affects everyone's psyches for the worse and in a timely manner that is as socially relevant today as it was back in '68.
As for the characters themselves, as vulnerable and irrational as they can, they are all doing their best to make it out alive from monsters they can barely stop. The primary lead Ben, played by Duane Jones, is portrayed with poignant paranoia that only escalates as he loses his mind when things go haywire for others, showing how even those with some plan don't know what's to come. Much like your typical horror film, the set up character of Barbra keeps things relatable before the horror kicks in, and Judith O'Dea captures an ever growing maddening fright that ultimately leads to her demise albeit in ways one would expect. While the rest were primarily played by members of Romero's company and past work, they are still handled with reasonable manic induced fear where you don't know how they'll end up acting out towards one another. Admittedly, the film's ending may be normally bleak by today's standards, but seeing what becomes of the characters was a huge deal at the time, further cementing how much of an identity this feature had from the competition back then.
In regards to other notable low budget qualities, the rural Pennsylvania outdoors make for great suspense as the characters try and fail to hoard off the creatures, complimented further by the grainy cinematography that presents so little for all the right reasons. The rinky dink farmhouse also serves as a deathtrap for the characters as much as a form of protection, mainly from the creepy basements and shadowy rooms that no one in their right mind would go near. In addition, the creatures are presented with rugged cloth and syrupy fake gore, adding into both the limited props and unorthodox killings occurring as death lurks throughout the plot. While these methods would be improved with higher budgeted features in the years onward, seeing these crudely displayed props on display is grotesquely horrifying given how appropriately sporadic they are depending on the sequence. Lastly, while largely consisting of stock music, the score adds into the uncomfortable tension rising throughout the feature, adding into the isolated paranoia and uncertainty for how things will play out.
Looking back at the zombie flick that kicked off Romero's strong career, Night of the Living Dead holds up well in its isolated low budget presentation, believably tense performances, tightly knitted editing and timely political commentary. Many zombie films owe their debt to this film's mere existence, and that alone is just partially why it deserves to be rediscovered by a new generation as the years go on. Given its public domain status, it should not be hard to track the film down for your own curiosity. Poignantly substantial as it is horrifically mind numbing, its legacy continues to live longer than the undead it spawned.