Happy Halloween!

Enjoy the gorgeous cool fall weather, look at the leaves, carve a pumpkin, go trick-or-treating, eat some sweets, wear a costume and watch a horror movie!

Happy Halloween!

Horrorfest: Going Squatching

RE-ANIMATOR
(Stuart Gordon, 1985)
After watching From Beyond earlier this month and enjoying it, I thought I'd check out this beloved cult classic from the same team. I liked this one even more as it was a good reminder why some 80's horror completely owned. A med student's creepy new roommate finds a way to revive corpses, and the two decide to do a little experimenting. There's lots of gore in store with some wonderful makeup work. How I miss practical makeup effects! Another movie with a cameo by a psychotic cat.Beyond cast members Jeffrey Combs and Barbara Crampton star, along with Bruce Abbott.  GRADE: B+

BIRTH OF THE LIVING DEAD
(Rob Kuhns, 2013)
I believe we have a Horrorfest first: a documentary. Exploring the production of George A. Romero's classic Night of the Living Dead, this doc also looks at the cultural upheaval that led to its inception and the ripple effects the movie caused in pop culture. Much of it is little more than a "Behind the Scenes" feature that would be on a DVD, but the film is at its best when examining how the tumultuous 60's inspired Night. Probably just a nice treat for hardcore Romero fans, his interview here is very amusing as he's such an amiable presence. There's only half a dozen people interviewed. It would have been nice if they had gotten one or two of the cast members, as a few are still leaving. There's a great doc called The American Nightmare that is similar but also looks at the horror classics of the 1970's and how they were reflections of societal changes and turbulent world events. GRADE: B

DELIVER US FROM EVIL
(Scott Derrickson, 2014)
Another "Based on True Events" *coughbullshitcough* modern horror concerning a police officer's (Eric Bana) dealings with a rash of related crimes that may involve possession. He seeks the help of a a priest (Edgar Ramirez) who - get this! - is unconventional. Basically, this basic basicness is a cross between The Exorcist and Seven, which I'm sure made a nice pitch in a meeting but that's as far as the creativity went. A few weeks back I lamented about the lack of grime in modern NYC set movies, and I suppose I'll have to take that back. Making all the scenes in dim lighting and looking like all rooms are crack houses isn't what I had in mind. Bana, Ramirez and Joel McHale make for some sexy leads, with football player beard Olivia Munn also appearing. GRADE: D+

WILLOW CREEK
(Bobcat Goldthwait, 2014)
Low budget found footage showing a couple's quest to find Bigfoot. They go to Northern California where the infamous Patterson-Gimlin footage originated, and end up getting more than they bargained for. The couple (played by Alexie Gilmore and Bryce Johnson) are likeable with an authenticity, and most of their interviews with locals at the beginning are amusing. The film really soars, though, once they get into the woods. There's a doozy of a sequence with a static shot that runs about 20 minutes where we see them reacting to the unknown terror lurking outside their tent. They initially react by cracking jokes then slowly turn to frozen fear, which further adds to the realism. Some superb sound work in that sequence! This one is far closer to the found footage horror classics like The Blair Witch Project and Paranormal Activity, instead of the recent rash. GRADE: B+

Reminder to self for next year: Teen Wolf. I realized tonight that I have never seen this, and I'm always complaining about the lack of comedies. Almost shocked I missed it!

Box: I want Beefy Prince of Persia Jake, not Skinny Jake.

1. Nightcrawler - $11m / $11m / $35m
2. John Wick - $8.5m / $28.5m / $48m
3. Fury - $8m / $59.5m / $78m
4. Gone Girl - $7.5m / $135m / $160m
**The Book of Life - $7.5m / $40m / $58m
6. Ouija - $7m / $31m / $44m
7. Alexander and the... - $5m / $52m / $64m
8. St. Vincent - $5m / $16.5m / $30m
9. Before I Go To Sleep - $3m / $3m / $8m
10. The Best of Me - $2.5m / $21.5m / $26m
***The Judge - $2.5m / $38.5m / $44m

Last time Halloween fell on a Friday, everything was severely deflated but stabilized a bit throughout the weekend. Nightcrawler has some genuinely great buzz, but it doesn't look like the most audience-friendly film. Before I Go To Sleep apparently has a small following, but the studio is new and it might even be a struggle to get it in the top 10 on a very quiet weekend. Keanu's John Wick did well last weekend, and thanks to good reviews might not drop too hard. Birdman continues to impress in limited, and with a decent expansion should make the top 10 next weekend.

ETA: Saw is getting a 10 Year Anniversary re-release. I doubt it makes the top 10.

Horrorfest: The Great Halloween Rewatch

Look! It's Michael Myers

I think he might hurt us!

We're running round, popping up and down

like Jamie Lee Curtis!

HALLOWEEN
(John Carpenter, 1978)
Seminal classic in which serial killer Michael Myers returns to his hometown after killing his older sister fifteen years prior. He stalks babysitters on Halloween, namely virginal heroine Laurie Strode (Jamie Lee Curtis), while his doctor (Donald Pleasence) tries to find him before more blood is spilled. Thanks to Carpenter's masterful use of the widescreen frame and his timeless score, the film remains one of the most suspenseful films ever made expertly outdoing the lessers and ripoffs that have followed in its footsteps. It's Carpenter's true masterpiece, though Assault on Precinct 13 and The Thing give it a good run for the money. GRADE: A+

HALLOWEEN II
(Rick Rosenthal, 1981)
Picking up exactly where the first film left off, Michael takes his murder spree to the Haddonfield hospital where Laurie has been admitted while Dr. Loomis deals with the aftermath of the initial killings. Far more violent than its predecessor, it has several cool death sequences - hello hot tub? - and a much larger body count. This is a film that's much better than it deserves to be, as its existence is a bit redundant given The Shape is meant to be a metaphor for the terror that is always lurking, always ready to strike. It was better off to let him just disappear into the night. I will add I forgot that the twist of Laurie being Michael's sister was actually from this film, not the first. Rosenthal's direction is more than serviceable (to bad he blows it in a later sequel). Of course, he's aided by cinematographer Dean Cundey and Carpenter's score. GRADE: B+.

From here the franchise veers off in three directions.

HALLOWEEN III: SEASON OF THE WITCH
(Tommy Lee Wallace, 1982)
The first is this film, which drops the entire Michael Myers storyline and goes its own way. This was actually the original plan: every Halloween the franchise would release a film that would tell its ownself-contained story. I have a bit of a history with this film as upon seeing it sometime in the mid 90's, I might have declared it one of the worst movies ever. However, many horrorphiles have stated that it's actually quite good when taken on its own terms. You will rarely see it on TV even with  Halloween marathons, so most people have little to no affinity for it. So, surprise surprise - a rewatch has proven fruitful and I now admire it. A doctor (Tom Atkins) gets sucked into a conspiracy involving a Halloween mask corporation and their sinister plans. This reminded me a lot of early Cronenberg, and the violence packs a mean punch. It's by no means a great film, but it's definitely not a bad one. Quite a brave ending, and that damn Silver Shamrock song will be stuck in your head for days. Also, those masks are seriously badass. I wish they'd make them. GRADE: B

HALLOWEEN 4: THE RETURN OF MICHAEL MYERS
(Dwight H. Little, 1988)
The second direction is this film, which takes place in Haddonfield 10 years after the events of the first two films. In this storyline, Laurie Strode has died leaving behind a daughter named Jamie (Danielle Harris). She is adopted by the Carruthers, and soon enough Jamie and her new sister Rachel (Ellie Cornell) are being targeted by Michael. Dr. Loomis also returns, realizing that Michael can't stop killing family members and has to save Jamie. This is very much standard 80's slasher fare with horny teens and a seemingly unstoppable killer. The three films prior to this in the franchise have aged pretty well, but this just feels like a big cliche. The ending adds a nice twist to the proceedings. The opening sequence is really gorgeous, beautifully capturing a crisp Midwest fall day. I'll add that the new Blu-ray edition of this has an audio sync problem that affects about 10 minutes.  Boo! GRADE: C+

HALLOWEEN 5: THE REVENGE OF MICHAEL MYERS
(Dominique Othenin-Girard, 1989)
Picking up a year where the last film left off, Jamie is now in a children's hospital and Michael is still after her. Wow, there are a lot of problems with the storyline to this one. First and foremost, no one seems to be bothered that Jamie tried to murder her adopted mother. The adopted parents are conveniently "away" for the film. Rachel seems to be a completely different character, a little too peppy for someone who a year ago watched a lot of people get murdered. Jamie now has a psychic connection to Michael, and this is where the Druid connection is introduced. Dr. Loomis is now more or less a crotchety old man. There's also two cops and whenever they appear this bizarre overly comical music plays. All that said, much like 4 this is standard 80's horror with some fun kills. Harris's performance is, at times, almost too good for the film surrounding her. Something else I noticed in regards to this film and the previous one: the Haddonfield this is taking place in is almost completely different from the first two. I know filming locations are different, but this seems more authentically Midwest. GRADE: C

HALLOWEEN: THE CURSE OF MICHAEL MYERS
(Joe Chappelle, 1995) - THEATRICAL VERSION
Okay, I'm very biased with this one. This was the first Halloween movie I saw. It was September 1996 and I had rented this along with The Truth About Cats and Dogs. I wasn't much of a horror aficionado back then (I know, right?) and if I did watch a horror movie it was definitely during the day. While I can't remember why exactly, I was alone in the house late Friday night. I started this probably after 10PM and about 20 minutes before the end, someone finally arrived home. Truth be told, I was relieved. I thought this film was so scary? It's probably one of the only times I remember being genuinely terrified by a film. I was 12, after all. In this, the character of Jamie (now played by a different actress) escapes from the Druid cult with her newborn baby only to be killed by Michael. A now grown Tommy Doyle (also a different actor, this one being the eternally yummy Paul Rudd) rescues the baby and takes it back to his apartment, located conveniently across the street from the old Myers' house where the dysfunctional relatives of the Strodes now reside. Dr. Loomis is caught up in the story, and Donald Pleasance died a few months after production. (Both this and H20 are dedicated to him.) Okay, it must be admitted: a lot of this film doesn't make much sense. The Druid connection is still rather dumb. The film has abrupt cuts - though some work in the film's favor - and it's easy to see where important stuff was trimmed. That said, it has mood to spare. It feels like Halloween perhaps more so than any other film in the franchise. The kills are good, Marianne Hagan makes a solid Final Girl (why didn't she become a bigger name?), Michael Myers is genuinely scary here, and Paul Rudd is as dreamy as ever. Yeah, I'm partial to this film for nostalgia's sake. It just feels so mid 90's. Aww, I miss it! GRADE: B

HALLOWEEN 6: THE CURSE OF MICHAEL MYERS
(The Producer's Cut)
Ah, the much anticipated "Producer's Cut" of #6. Long rumored to be never made public, and relegated to bootlegged copies being sold in the backrooms of Horror movie forums (and sometimes Ebay!), it finally arrived along with the Scream Factor/Anchor Bay box set. The major differences between this are what happens to Jamie in the beginning, and the final 10-15 minutes of the film. Other than that, little scenes are added here and there. It's more expansive, running about 10 minutes longer allowing the film to breathe a tad more. It's more in line with the aim of the previous 2 films, only doing them a bit better. I'm not certain I like the ending of this cut more than the theatrical. I liked the stuff underground with the planned sacrifice, but something about the theatrical cut's hospital scenes just made that version so...hardcore? Not just that, but it felt like a more potent ending. Though this version does get rid of that awful "OH GOD!" scream Hagan does when Michael tries to pull her through the bars. It adds a bit more supernatural, and I think the final encounter between Loomis and Myers is rather silly. You win some, you lose some. GRADE: B

HALLOWEEN H20: 20 YEARS LATER
(Steve Miner, 1998)
And now, this film ignores the last three and creates the third branch off of Halloween II. Laurie Strode faked her death (though that could tie in with #4, I suppose) and is now named Keri Tate, residing as the head mistress of a posh California private school. She has a 17-year-old son (Josh Hartnett and his stupid haircut). Worried that Michael is still after her even after 20 years, her fears are soon realized after he tracks her down after killing Marion Chambers (Nancy Stephens, reprising her role from the first 2 films). With a script that had input from then It Screenwriter Kevin Williamson (the first two Screams, I Know What You Did Last Summer), this is a really fun and suspenseful installment that returns the franchise to the more simplistic tone of the first two. Containing one of Jamie Lee's best performances, it also has a fun in-joke with Janet Leigh playing her secretary Norma. If the film has a major flaw, it would be that Michael doesn't have much of a personality in this. He's a little too generic, and even the mask feels neutered. However, the last act more than makes up for this. When Laurie screams out "Michael!" for him to get her, it's one of the most badass and powerful moments in the entire franchise. Everything from there on out is gold. Future triple Oscar nominee Michelle Williams and Joseph Gordon-Levitt also appear. GRADE: B+

HALLOWEEN: RESURRECTION
(Rick Rosenthal, 2002)
Oh boy, I was dreading a rewatch of this. The film shits (kinda cleverly, it must be said) on the fantastic ending of H20 and kills off Laurie in the first 10 minutes. The scene is actually okay, but then things quickly go downhill. And by downhill, I mean it free falls off a cliff hitting every protruding rock on the way down. The producers of a company called Dangertainment (OMG so clever!) stage a live webcam show from the Myers house where a group of college-age people will enter. Then, Michael shows up. This doesn't feel like a Halloween movie at all (it might as well be set in January) and it's really just a masked killer stalking annoying characters in house rigged with internet cameras. Like any modern film dealing with (then) modern technology, it's going to be dated in a matter of months. Unintentional laughs arise when we see just how slow text messaging was in 2002. The film's storyline also jumps to one of the contestants internet boyfriend at a Halloween party where the guests are watching the stream. This reduces the already minuscule suspense even further.  Busta Rhymes is absolutely atrocious as one of the producers, with the other one being played by Tyra Banks. You know when Tyra Banks comes off as subdued and not annoying that the person she's paired with must be god awful. Thomas Ian Nicholas, Sean Patrick Thomas and genre fave Katee Sakhoff also appear. GRADE: D

RANKING:
1. Halloween
2. Halloween II
3. Halloween H20
4. Halloween: The Curse of Michael Myers (both versions)
5. Halloween 3
6. Halloween 4
7. Halloween 5
8. Halloween: Resurrection

So yeah, I skipped the Rob Zombie remakes. Maybe another year...

Anyways, it was fun watching this franchise the past month. Next year: Friday the 13th. It's time for me to finally do that!

Horrorfest: Revenge of the Killer Pussy

GODZILLA
(Gareth Edwards, 2014)
Reboot of the giant lizard saga, from the director of 2010's decent Monsters. The film takes a cool approach to the storyline. Rather than having the big guy be the source of terror (though he still definitely is), he's the restorer of balance after MUTOs arrive seeking radiation. I don't get the criticisms that Godzilla isn't in it enough. There's more than enough action/disaster porn to go around, with several breathtaking sequences. The film doesn't make us numb to the destruction, a big plus given we're in the age of Man of Steel and Michael "let's blow up everything in sight for entire reels" Bay. Though the film doesn't really get going until after the first act, the cinematography, visual effects, sound and especially Alexandre Desplat's mesmerizing score make this one of the most aesthetically pleasing summer blockbusters that doesn't have Christopher Nolan's name attached. The humans are forgettable, but are luckily played by an assortment of award winning actors (Bryan Cranston, Ken Watanabe, Sally Hawkins, Elizabeth Olsen and a bizarrely brief Juliette Binoche). Aaron Taylor-Johnson is also some delicious eye candy. GRADE: B+

THE LEGEND OF HELL HOUSE
(John Hough, 1973)
A team attempts to survive a week in the notoriously haunted Hell House, where previous visitors have either gone mad or died. Standard old British haunted house movie, though it has very nice atmosphere. In particular, the exterior shots of the constantly drenched in fog Hell House are gorgeous and moody. I'm curious if this was the first film to feature the classic psychotic cat that has been prevalent in similar films and often parodied. A lot of the elements of this have since become cliche that it robs the film of some of its potence. GRADE: B-

THE FURY
(Brian De Palma, 1978)
Two years after De Palma explored a teenage girl's telekinetic powers in Carrie, he's back with a similar tale. A government agent (Kirk Douglas) must use a young woman's (Amy Irving, who played non-telekinetic in Carrie)
power to find his kidnapped son. Their powers are being exploited by a sinister organization led by John Cassavettes. Another film I'm surprised hasn't been remade, this is definitely a step down after De Palma's 1976 masterpiece. It's way too long, and shockingly given the director it's all a little too staid. That said, the last scene does what it needs to and even rivals Scanners in the "man-splosion" arena. Most of the scenes of the Irving's character using her powers liven things up. GRADE: C

I MARRIED A WITCH
(Rene Clair, 1942)
Light comedy about a centuries old witch who takes human form to seek revenge on the descendant of one of her family's persecutors. This is the first Veronica Lake movie I've seen! Always exciting when I get to see one of the Golden Era's most famous. I was surprised how young she was here (only 20!) as I guess I figured she would have been more....womanly? She was closer to an ingenue here. GRADE: B
Great hair obviously! The film is so light it almost evaporates in front of you, but still a fun charming time.

LIFE AFTER BETH
(Jeff Baena, 2014)
Another zomcom (zombie comedy) joining a genre that has been growing in the last decade thanks to Shaun of the Dead, Zombieland, Warm Bodies, Fido and several others. A young man (Dane DeHaan) is struggling to get over the death of his girlfriend (Aubrey Plaza) when she returns from the dead. While initially "normal", she eventually transforms into the classic zombie mold. The film throws in a few neat twists to the zombie canon, chief among them that zombies like easy listening music. This would have worked better as a short, as even at only 89 minutes it's poorly paced and feels long. Worse, it leaves an impressive cast of comedy heavyweights (the couple's parents are played by John C. Reilly, Molly Shannon, Paul Reiser and Cheryl Hines) with weak material. GRADE: C-

PARANORMAN
(Chris Butler and Sam Fell, 2012)
This is my first viewing since seeing it in theatres in 3D back when it was released. It should have easily won the Oscar for Animated Feature that year. Norman (voice of Let Me In's Kodi Smit-McPhee) is a young outcast, declared a freak because he can interact with the dead. The horror elements work more effectively than most current actual horror films, and the characters are all really fun. (In particular, the reveal about Casey Affleck's Mitch is pretty groundbreaking for an animated film. Bravo to Laika for going there!) It often seems a lot like a great live action 1980's film. I know some parents might be hesitant to let their young kids watch this, but the film has a strong anti-bullying message and general theme that childhood IS terrifying will make it relatable. Of course, as a kid I watched horror movies nonstop and was a bit of an outcast, so this is probably the close I've come to seeing myself on the big screen. I mean, Norman's ringtone was the Halloween theme!!! (Co-voiced by Anna Kendrick, Leslie Mann and John Goodman.) GRADE: A-

Box: I want a Magic 8 Ball movie, damn it!

1. Ouija - $20m / $20m / $43m
2. Fury - $12.5m / $46m / $75m
3. Gone Girl - $11.5m / $124m / $160m
4. The Book of Life - $11m / $31m / $56m
5. John Wick - $10m / $10m / $28m
6. Alexander and the... - $8m / $46.5m / $68m
7. St. Vincent - $7m / $8m / $23m
8. The Best of Me - $5.5m / $18.5m / $29m
9. Dracula Untold - $5m / $49m / $59m
10. The Judge - $4.5m / $34.5m / $45m

There's also something called 23 Blast opening in about 600 theaters. It's a sports movie, but I haven't seen a single bit of advertising for it. No idea if it's Christian themed or what. Ouija will be #1, and it's the first major PG-13 release since The Maze Runner. That should help it somewhat, but it's definitely one of those movies that no one will remember in a month's time. John Wick has decent reviews, but Keanu's last efforts have mostly been busts. A performance close to a Jason Statham film is in order. St. Vincent goes wide, but I doubt it's going enter the top 5. Fury did okay last weekend, but I'm sure thanks to Pitt it'll do well overseas. Gone Girl keeps plugging along.

Horrorfest: He's a maniac, maniac on the floor!

Are we in an apiary?  Cuz I see B's.

CREEP
(Christopher Smith, 2005)

The Bourne Identity and Run Lola Run star Franka Potente plays a woman who gets locked into a subway station late at night and has to fend off a humanoid.  Subways have been the setting for a few horror flicks in the past (Midnight Meat Train, Mimic, End of the Line) but for the most part this setting has been underutilized.  I mean, consider that stations and the trains themselves are inherently creepy.  Sadly, this one doesn't bring anything new to the table, and despite a game Potente there's not much to see here.  I am surprised it took me this long to even hear about this movie.  It was only when I saw an ad for it on Chiller did I realize it existed.  In the end, that wasn't a surprise given the thorough mediocrity.  GRADE: C


MOTEL HELL
(Kevin Connor, 1980)
Hey, here's one that's ripe for a remake!  A farmer and his sister own a seedy motel where they are world famous for their smoked meats.  The smoked meats are, of course, people.  Has there ever been a horror movie involving mystery meat that wasn't people?  This horror comedy offers some entertaining amusements and campy comedy.  What the farmer does to the people is actually pretty gruesome and gets under the skin, especially when his garden started "talking".  It's obviously a little derivative of Texas Chain Saw Massacre, but it works in its own way.  GRADE: B



ABSENTIA
(Mike Flanagan, 2011)
Very very very low budget (about $70k from Kickstarter) debut (I think?) feature from the director of Oculus.  I will continue to keep an eye on Flanagan as based on these two films he's definitely going places.  A former drug addict arrives in a shady LA neighborhood to live with her sister, whose husband disappeared years prior and is about to be declared dead in absentia.  The rehabilitated sister finds that a nearby tunnel under a bridge holds some dark secrets, and soon both sisters are battling an unstoppable, metaphysical force.  Occasionally undermined by its small production scale, this is a small but potent slow burn.  The actresses (Katie Parker and Courtney Bell) playing the sisters bring a welcome sense of realism. Doug Jones (Pan's Labyrinth) appears in a small role.   GRADE: B



BANSHEE CHAPTER
(Blair Erickson, 2014)
I'm glad I watched this! I almost wasn't going to, but I remembered reading a few favorable reviews and figured 'why not?' Smart move! A journalist investigating what happened to her college sweetheart finds a conspiracy involving a mystery drug that allows its users to hear a mysterious radio signal.  However, the users almost all disappear or end up dead. Another low budget chiller, this film has several heart stopping moments and palpable suspense.  Genre fave Ted Levine (Silence of the Lambs, Joy Ride, 2006's The Hills Have Eyes) co-stars as a Hunter S. Thompson-esque writer, with a fine actress named Katia Winter as the lead.  The drug that drives the story is real, and the footage that was incorporated of real figures discussing it certainly added to the film's efficacy.  I'd like to point out that this is NOT found footage, despite what some reviewers seemed to believe.  There are several sequences of found footage, but most is standard narrative.  I thought that was obvious, but I guess some people did not. I thought the "twist" brought up in the last couple of minutes didn't add anything and actually detracted from the overall film. That said, this is well worth watching. Somewhat related: why don't we ever get any banshees in horror movies?  GRADE: B+


HELLRAISER
(Clive Barker, 1987)
Hey, I finally saw this!  This might be the last true post-1980 "classic" I hadn't seen! I'm sure I'll think of another one soon. I was surprised the plot was as complicated (for a horror movie!) as it was. Perhaps I just thought Pinhead shows up and kills people and that's that. A woman helps her dead lover come back to life by "feeding him" dead bodies. He's being chased from another world by the Cenobites, and thus S&M finally arrives to horror. (See below for more.) Grisly, gory and pretty inventive, offering a solid if unspectacular  alternative to the slasher films of that era.  Fantastic makeup work.  Ugh, I really miss practical makeup.  I think a remake has been long in development and I'm sure will happen sooner or later.  GRADE: B


THE PROPHECY
(Gregory Widen, 1995)
Yawwwwn.  Such a snooze. The angel Gabriel comes to Earth to steal a soul that is inside a little girl. Christopher Walken plays said angel. This should work given the premise. Religion is seldom used in non-exorcism horror films, but this film is a big snore. Virginia Madsen (a genre fave thanks to Candyman), Elias Koteas, Viggo Mortensen and Amanda Plummer co-star. All are wasted, but Viggo has some fun. The last act of this drags on and on. Despite coming out in 1995, it was filmed in 1993 but feels like a mid 80's movie. It must be stated: mid 90's Elias Koteas may be one of the hottest guys in cinematic history.  GRADE: D



FROM BEYOND
(Stuart Gordon, 1986)
More gore! Slither and, to some extent, the aforementioned Banshee Chapter owe a lot to this 80's shocker about a group of scientists that bring a violent entity from another reality into ours. Wall to wall cool 80's makeup effects and more S&M! Genre staples Jeffrey Combs (The Frighteners), Barbara Crampton (Re-animator, You're Next)and Ken Foree (Dawn of the Dead, both of them) lead the cast of this rather kinky bloodfest. Pinhead ain't got nothing on Crampton in that leather getup. Based on a story by HP Lovecraft, it all ends up feeling a little inconsequential. Enjoyable, but minor.   GRADE: B


MANIAC
(William Lustig, 1980)
With the aesthetic of a third rate 70's porno, this grisly slasher tells the story of a disturbed man who scalps young women in a crime wave across the seedy New York City night. Remember when movies set in NYC had such a grimy feel? It seemed like that all changed in the 90's. Thanks, Carrie Bradshaw! This one gives you the feeling that you'll need a Silkwood scrub down afterwards. Depraved and misogynistic, it still packs a punch of raw horror. Joe Spinell does fine character work (I hope?) as the title psycho, someone who kind of makes Travis Bickle look well adjusted.  GRADE: B 

Neil Patrick Harris is Hosting the Oscars

Ugh.

I have to remind myself he was very good the first time hosting the Emmy's (the second show he hosted, which he also co-produced, was a disaster) and the clips I've seen of his Tony MC-ing was stellar.

But I just feel so disappointed with this. Maybe it's because the last time he was on the Oscar show, he took part in an opening number and that whole show was also terrible.

Perhaps the worst part is that, according to Hollywood Reporter, Ellen turned it down and then the gig was offered to Julia Louis-Dreyfus. OMG JLD would have been AMAZING!!!! I don't blame her for turning it down, though.

Hey, we still get "Tina and Amy: Round 3" at the Globes.

Box: Brad's World War II movie now, Angelina's World War II movie later.

1. Fury - $25m / $25m / $75m
2. The Book of Life - $19m / $19m / $65m
3. Gone Girl - $16m / $105m / $150m
4. The Best of Me - $15m / $15m / $43m
5. Alexander and the... - $11m / $36m / $65m
**Dracula Untold - $11m / $42m / $65m
7. The Judge - $7.5m / $26.5m / $45m
8. Annabelle - $7m / $73m / $88m
9. The Equalizer - $5.5m / $89.5m / $102m
10. The Maze Runner - $4m / $90m / $100m

Brad Pitt arrives to end Gone Girl's #1 streak. Gone held up very well in its second week, and $150m+ looks to be in play assuming it can keep up the word of mouth and Fury doesn't pose too much of a threat. I'm not sure what Fury will do. It will be a good test of Brad Pitt's drawing power given the okay reviews and Gone Girl going above expectations.  I honestly haven't seen a single ad for The Book of Life and have no clue what the storyline is.  It'll probably do similarly to what Boxtrolls did and will be enough to hold audiences over until the Disney film arrives in November.  The Best of Me should perform modestly, as Nicholas Sparks movies are fairly reliable performers.  Men, Women and Children was supposed to go wide this weekend but given very (very very) poor numbers in limited, it's probably only getting a couple hundred theaters if that.

Box: Luke Evan Sucks

1. Gone Girl - $20m / $71.5m / $125m
2. Alexander and the Terrible, Horrible, No Good, Very Bad Day - $18m / $18m / $75m
3. Annabelle - $17m / $63m / $95m
4. Dracula Untold - $14m / $14m / $38m
5. The Judge - $12m / $12m / $35m
6. The Equalizer - $10.5m / $81m / $105m
7. The Boxtrolls - $7m / $41.5m / $60m
8. The Maze Runner - $6.5m / $82.5m / $100m
9. Addicted - $3.5m / $3.5m / $8m
10. Left Behind - $3m / $11m / $16m

Gone Girl and Annabelle became the third and fourth $30m+ openers of the fall.  This weekend has four openers, with three of them likely debuting somewhere in the teens.  Alexander and the Long Movie Title and Dracula Untold will probably be the only ones worth noting.  The Judge is failed Oscar bait with mediocre reviews, and Robert Downey Jr is untested outside of franchise fare.  Addicted is only in about 800+ theaters, so there's a possibility it might not even made the top 10.

Horrorfest: Happy October!

I have 3 Halloween movies down, so I'll probably do write-ups on those at some point.  Meanwhile...

THE SACRAMENT
(Ti West, 2014)
I've stated a few times that I'm a big fan of Ti West and what he has brought to modern horror (slow burn suspense, little reliance on overdone modern staples).  Frustratingly, this is most likely his last foray into the genre as his next is said to be more of a thriller and he wants out of the genre.  Boo!  Anyway, while this pales in comparison to his classy work on House of the Devil and The Innkeepers, it's still a worthwhile watch.  A Vice reporter and his cameraman travel with a photographer to Eden Parish, a religious commune where the photog's drug addict sister has taken up residence.  As they investigate the "paradise", the situation grows increasingly ominous until it explodes into outright horror.  It's a decent film if you can get over one major problem: it's shot in the "found footage" style (which I don't usually have a problem with) but the way it's employed here is highly problematic.  There is a score, the camera angles don't line up with what the cameraman would be shooting, and the editing is too polished for the format.  The repertory of VOD mumblecore makes up most of the cast, including AJ Bowen, Amy Semeitz, Kentucker Audley and Joe Swanberg.  Gene Jones as "Father" gives a very creepy but realistic performance.  GRADE: B

NURSE
(Douglas Aarniokoski, 2014)

Working overtime to be a sordid delight, the film follows a psychotic nurse who kills cheating men and becomes obsessed with her protege.  Paz de la Huerta (Boardwalk Empire) plays the frequently naked villain.  I have no prior experience with Huerta's on-screen work (I've either not seen it or have no memory of her performance in the stuff I have seen), but her off screen antics are legendary.  Her trainwreck performance is one of the only actual pleasures this overdone horror movie offers.  It's like watching someone try to read a script right before they blackout from drinking.  Digital blood, crude sexuality and 3D gags (it was supposed to be released in 3D, but I'm honestly not sure if the film even made it to theaters) abound.  This is one of the rare times where I have a problem with a film intentionally trying to be a cult film or a "so bad, it's good" entertainment.  If anything, this feels like a really shitty, too modern remake of a badass 80's movie.  I'd much rather see the nonexistent 80's movie this is trying to be.  30 Rock's Katrina Bowden and Corbin Bleu co-star, and Kathleen Turner appears for about 15 seconds.  GRADE: D

HOUSE OF WAX
(Andre De Toth, 1953)
Embarrassing admission for Horrorfest: I've never seen a Vincent Price movie.  Biggest shock of the fest, right?  I've had this DVD forever.  I think I might have bought it for $4 at Wal-mart a decade ago?  Finally, I watched it and very much enjoyed it.  Price stars as the owner of a wax figure museum who may or may not be murdering people and displaying them.  This was released in theaters in 3D, and there's some cute gimmicks involving a paddle ball and can-can dancers.  Of course, I was watching it in 2D but I was still amused.  Also, it had a random intermission despite the film only being 88 minutes.  And they say audiences today have short attention spans!  The period detail was very good and the scenes of the melting wax figures was very well captured and disturbing.  I'm a fan of the remake.  Though I love the wax town the remake presented, I wish they hadn't strayed so far from the storyline of the original.  Seemed a bit more realistic.  I want to see more Price movies now.  I found him oddly sexy?GRADE: B+

Trailer: American Sniper

Clint Eastwood's Jersey Boys follow-up (couldn't resist!), with Bradley Cooper as Chris Kyle.  Sienna Miller is having a bit of a comeback, between this and Foxcatcher.  I always thought she was a good actress, but her tabloid-friendly personal life got in the way of her career.  That said, this is all about how yummy B.Coop is here.  Mmmm.  Fuck the scrawny boys, I'll take a built man like this any day.  This is a very well made teaser.

Box: Get it, Girl!

1. Gone Girl - $37m / $37m / $135m
2. Annabelle - $27m / $27m / $70m
3. The Equalizer - $18m / $64.5m / $105m
4. The Boxtrolls - $10m / $30m / $56m
5. The Maze Runner - $9.5m / $71.5m / $92m
6. Left Behind - $6m / $6m / $15m
7. This Is Where I Leave You - $4m / $29m / $39m
8. Dolphin Tale 2 - $3m / $37.5m / $44m
9. The Good Lie - $2.5m / $2.5m / $15m
10. Guardians of the Galaxy - $2m / $322m / $327m

Tracking is all over the place for Gone Girl.  Very important to remember that tracking is notoriously shit when it comes to films aimed at women.  The book has a massive fan base and that's going to translate into hopefully a very leggy run and prosperous awards haul.  Annabelle will give some solid backup, but probably nowhere near what The Conjuring earned in 2013.  I have no idea what to predict for Left Behind.  The Identical proved that Freestyle can't open a film, and faith-based films have floundered in the second half of the year.  The Good Lie is opening in about 400 theaters, and Warner is going to expand it throughout the month in hopes that word of mouth will carry it.