Planned for this year: some Wes Craven anniversary revisits & the Poltergeist series, among others.
(Zach Cregger, 2022)
Arriving late night at her Airbnb in the soaking rain, a young woman discovers the house has been mistakenly double booked and there's another guest already there. After some initial awkwardness, the two forge a bit of a connection before making a shocking discovery in the basement. That's all you need to know, as even the marketing has painstakingly kept the film's plotline a secret. A fun and darkly comedic ride, with fascinating characters and jolty twists. Don't spoil yourself! With Georgina Campbell, Bill Skarsgard, and Justin Long. GRADE: B+
THE BLACK PHONE
(Scott Derrickson, 2022)
I guess I'm just not a fan of Derrickson, as none of the films I've seen by him have worked for me. In the late 70's, a serial killer (Ethan Hawke) abducts a young teen and holds him captive in his basement. There, the kid begins getting calls on a black phone from the killer's previous victims who help the boy plan his escape. A hit when it was released this summer, the film didn't yield much suspense, and the supernatural aspects of the story made it feel like second rate Stephen King. Also with James Ransone and Jeremy Davies. GRADE: C
(Francis Ford Coppola, 1992)
This is a repeat viewing as I had seen this once before. I think it was in the late 90's, and the situation around my watching may not have been the best: low volume at my grandparents' house late at night. I kinda hated it, but had been meaning to give it a rewatch after all these years under better circumstances. There's no doubt this is probably one of the most visually stunning films ever made, with top notch costumes, production design, and makeup. Every aspect of the film is cranked up to 11, but I had a better appreciation for it this time. I still don't think it's a great film, but it is a solid good one. And damn if this isn't a stunner in high definition. It's worth it for the audio and visual elements alone. I've seen Keanu Reeves's performance here frequently sited on all-time Worst Of lists, but I thought he was fine? And literally fine, because it might be the best he's ever looked. Gary Oldman, Winona Ryder, and Anthony Hopkins round out the cast. It's hard to watch this and not think of The Simpsons Treehouse of Horror parody. "His hairdo looks so queer." GRADE: B
(Adrian Lyne, 1987)
Would you believe I had never seen this? I'm not sure if this is the zeitgeisty adult thriller from which all the erotic thrillers of the late 80's and most of the 90's took their cue from, but it definitely set a high standard for them. Thanks to Lyne's direction, the smart screenplay, and the top notch cast, it still works after all these years despite a slew of imitators. Michael Douglas plays a New York City lawyer whose affair with an editor (Glenn Close, never better) turns dangerous after he tries to cut her out of his life. Ah, films for adults that have sex scenes. How I miss those! Close is fantastic here, as is Anne Archer as Douglas's wife. GRADE: A-
(Joel Schumacher, 1987)
I saw this 20 years ago at a screening held by drag queens who provided MST3K-esque commentary. ("Close your mouth, Corey!") Not an ideal first viewing, but at least it was entertaining. I forgot that this teen vampire film is actually about the Coreys (Feldman and Haim) trying to stop the vampires (led by Kiefer Sutherland) from taking over their sleepy California seaside town. I always thought it was more about Jason Patric's character getting involved with a very 80's vampire gang, but the other storyline is given more weight. The stories don't really mesh well, but at least there's a lot of man candy on display. Seriously, how hot were Patric and Billy Wirth back then? I guess Near Dark remains the (vastly) superior mid 80's vampire flick. With Jami Gertz (in a pathetically underwritten role) and a then newly minted Oscar-winner Dianne Wiest. GRADE: C
LOST HIGHWAY
(David Lynch, 1997)
Nightmarish 90's neo-noir about a jazz musician (Bill Pullman) who is framed for murdering his wife (Patricia Arquette), and then inexplicably becomes a young mechanic (Balthazar Getty) having an affair with a mobster's gal (Arquette, again). Sure, it's Lynch, so just go with it. Moody, with thrills aplenty, and great supporting work by Robert Loggia and Robert Blake. The former's hilarious scene on the road is the flipside of Blake's unnerving phone scene. Who knew Arquette had a body like that? Woah, and this is probably the only time I've found Pullman sexy. I prefer his son. Love the use of This Mortal Coil's "Song To the Siren", though I did not expect Lynch to be a Marilyn Manson fan. GRADE: B+
(Michael Goi, 2019)
Emily Mortimer and Gary Oldman star as a couple who take their family out to sea aboard a haunted vessel. Outside of shark and various other creature features, I don't think there are enough 'terror on the high seas' films, and what few exist are probably better than this. (Yes, even Ghost Ship.) Repetitive even for its scant 84 minute runtime, almost every scene has someone seeing a ghost, then running to other side of the boat and getting in an argument with a family member. Mortimer and Oldman are great actors, but their left completely, ahem, adrift. Also with Jennifer Esposito. GRADE: C-
OUTBACK
(Mike Green, 2020)
Based on a true story, this survival thriller follows an American couple in the Australian Outback who get lost and must deal with the elements. I thought that would mean more creatures, but it was more the vastness of the land getting them lost. I guess I was expecting something more along the lines of Wake In Fright or Long Weekend. Instead, it's like Wolf Creek if the killer never came along. It does work, though, especially in its depiction of the breakdown of their relationship. With Lauren Lofberg and Taylor Wiese. GRADE: B
(Alfonso Gomez-Rejon, 2014)
Meta semi-sequel to the 1970's slasher/docudrama about the "Texarkana Moonlight Murders" of the 1940's....Jesus H. Christ, did I really just type that? The original 1976 film was something I had tried for years to watch and finally got to see over the summer. I found it mostly disappointing, though it does have some seminal slasher moments. It was ultimately more of a procedural with goofy police moments. This follow-up picks up in present day where a copycat killer begins a rampage after a screening of the original film. Never really engaging or thrilling and perhaps too up its own ass over its legacy, this is just a reminder that someone should make a limited series or new feature about the original unsolved killings. With Addison Timlin, Veronica Cartwright, and Denis O'Hare. GRADE: C
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