Wednesday, October 11, 2017

Review: The Blackcoat's Daughter



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The Blackcoat’s Daughter has to be one of the finest horror films of this decade. A true original, a masterwork seemingly lost in a tide of pointless prequels and unwanted remakes. If I had to describe the filmic landscape of The Blackcoat’s Daughter, I would say a combination of the cold Canadian backdrop of the films of David Cronenberg, the diabolical nightside philosophies of The Witch, and the slow creeping dread and sense of impending doom of the films of Kiyoshi Kurosawa and Hideo Nakata. The Blackcoat's Daughter is the first film from director Oz Perkins, who also directed the ghostly slow burn, I Am the Pretty Thing That Lives in the House. Based on these two films, I think the chilly, icy, quiet branch of the horror genre may be seeing a resurgence in the capable hands of Oz Perkins.


During the dead of winter, two stranded students are enveloped into the sinister manipulations of evil forces that lurk behind the everyday. A tale that is both darkly hypnotic and seductively vague, The Blackcoat’s Daughter is not a safe film to watch during the midnight hour. It is a study in unease and will have you looking at shadowy corners, both hoping and dreading that something is there. Highly recommended.   

Tuesday, October 10, 2017

Black Cats and Black Graves: The Films of Lucio Fulci.

                              


 Image result for the gates of hell fulci
 Image result for the gates of hell fulci

In any discussion of the great horror directors, the name of Lucio Fulci must be high on the list. His dark landscapes of fog-enshrouded cemeteries, plagues of rotting zombies, malevolent spider attacks, and obsessive ocular violence, are a must visit in the dismal night covered country of horror cinema. Fulci’s zombie trilogy, The Gates Hell, The Beyond, and The House by the Cemetery, were a formative viewing experience in my life. Seeing The Gates of Hell at around the age of 12 or 13 both scared me so much I ran out of the room around the halfway point of the movie, and fascinated me with its operatic violence against the body and it’s just overwhelming doom-laden gothic atmosphere. The Gates of Hell was the gateway drug that turned me into a horror film fanatic. His later zombie film The Beyond further pushed the envelope of surreal filmic transgression. The Beyond stands with toe to toe with Romero’s Night of the Living Dead as the pillars of the zombie film. Fulci then hit us with The House by the Cemetery, which on first watch I have to admit I was kind of baffled and confused by. More a haunted house film than a zombie invasion film like The Gates of Hell and The Beyond. But on subsequent viewings, I have come to love the subtle deliriums and just bizarre plot twists of The House by the Cemetery. In all three films, there is this kind of unseen chaos, inflecting the film and the viewer. The characters move through the films like they are lost in some foggy haze, and the films end with a shocking bewilderment rather than any kind of finality. The human body is not the only thing on attack in these films, it’s as if the zombies are carriers of a primal chaos, attacking both reason and narrative. At the end any of these films, you are left in a place of dark confusion, slowly you realize that in fact, you the viewer, were the one that was under attack.

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Fulci first burst onto the horror scene with what may be his most famous and influential film, Zombie. Fulci takes Romero’s undead apocalypse scenario from his Living Dead series and brings it back to the zombie’s genres roots by taking place on a secluded tropical island, paying subtle homage to films like White Zombie and I Walked with a Zombie. Zombie is maybe the most ‘pure’ zombie film alongside Bianchi’s Burial Ground. You show up for outrageous gore and shambling corpses, and the film outright drowns you in bodily corruption and death. Zombie is an unimpeachable classic of the genre and not to be missed. Also, I must recommend a more obscure Fulci film that deserves a second look by horror fans. And that film would be The Black Cat. A clever homage to the stories of Edgar Allan Poe, The Black Cat is a remarkably fast-paced, suspenseful murder mystery, which is a definite departure from the surreal zombie films he is more known for. To anyone who thinks Fulci is a hack who could not direct a mainstream horror film with a more recognizable plot and realistic characters, I urge them to watch The Black Cat. The film follows the general plot of Poe’s story, a man, who may or may not be a murderer, is under attack by a malefic black cat. The black cat may be some kind of demon or may just be the paranoid delusion of a tormented mind. And something that I found absolutely charming about this film is, the black cat that is featured in this, under a backdrop of sinister music and growling sound effects, is a delightfully beautiful cat who seems more interested in preening for the camera and looking gorgeous then actually trying to look like an evil cat. And the cat has a ton of screen time, every second outshining all else in the film.  While the film is a dead serious horror film, the cat is so damned cute that it steals the show. It’s so cute that you would be tempted to take it home, let it into your family, where it will haunt your every move, and trap you in its sinister manipulations. I think that may be the paramount thing to understanding why Fulci’s films work so well, he was a director who knew what the audience wanted, he knew who the real stars of his films were, whether black cats or undead zombies. He made horror films for horror fans, he would deliver exactly what you wanted, and leave you trapped in its nightmare.

Tuesday, October 3, 2017

The Unearthly Beauty of the Cinematic Other



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After watching Alien: Covenant with a friend, we got into the usual conversation people have following film viewing, what was good and what was bad about it. He hated it, thought it was full of bad acting and nonsensical plot driven decisions. Which it is. But then I argued that the film had merit. It did contain some rather startling and brilliant imagery. My positive review was pretty much based solely on the scene down in the underground chambers, where David summons one of his alien offspring to come forth. It stands straight up, a disturbingly blank white face dripping with crimson blood. And David looks at it like a father or a mother would, with pride and maybe even a bit of tenderness, and whispers about how you must blow on its nose, to earn its trust. It is just such a strange and bizarrely intimate scene. That is a scene that will live forever in my mind. The rest of the film may not be that great, but what do you do with a bad film that contains a moment of absolute beauty and perfection, that many great films try for but just miss? Similarly, I also love Alien: Resurrection for the scene where Ripley is carried, coming in and out of consciousness, in the arms of a Xenomorph, like a sleeping lover, into that pit of flesh, tentacles, and other biomechanical protuberances. There she is swallowed ever so slowly into the maw, her face enraptured as in a dream, as if her cosmic destiny had finally revealed itself. The rest of the film is barely watchable. But that scene stands with the first 40 minutes of the original Alien as filmic masterpieces of cosmic mystery and perverseness.

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This kind of beautiful imagery trapped within a low-rent film is not limited to the Alien series. It seems to be almost a tradition in the science fiction film. Who can forget the hairy long-tongued monster from The Brainiac carrying out his foretold doom? The invasion of evil crawling brains from Fiend without a Face? The hypnotic alien with a vaginal face bringing the end of the world from Goke: Bodysnatcher from Hell? All those films have these scenes that seem lifted from some odd fever dream. I would say that the Alien franchise certainly contains less campy fun and offbeat imagination then films like It Came From Outer Space or The Mysterians. But even in big-budget science fiction, the bizarre and dreamlike image can still be found.

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