House (1977)

            First of all, I want to apologize for the lack of reviews, updates or anything really from us here at Highbrow Horror. You see, the week after Halloween is probably the most depressing week for us throughout the entire year. I call it the post-Halloween blues and I have had them particularly bad after such a full Halloween season. I don’t have an excuse to watch a horror film every day now and it just brings me down. I usually feel this way for two to three weeks after the big night and I was on schedule for just that until last night. You see, last night I was cured!
            I sat down with Jonah to watch a Japanese film from 1977 called House. I had heard all kinds of wonderful things about this movie. I had read glowing reviews saying that it was a whacked out bit of psychedelic horror/comedy that would crank the energy up to eleven with every passing second, that it was completely ridiculous, and the closest experience to doing drugs without doing drugs. Well, all of those things are right on the money. However, they don’t even come close to actually capturing the insanity that takes place in this movie.
            I’ll admit right now that I’m not going to be able to articulate what happens in this film or why you need to see it. I was tossing around the idea of watching it a second time before I wrote about it but I realized that a second viewing probably wouldn’t yield any further understanding either. I’ve seen it, it blew my mind, and now I’m trying to get you to see it. That’s probably as far as I’m going to get.
            The film is about a girl named Gorgeous and her six friends (Prof, Melody, Kung Fu, Mac, Sweet, and Fantasy) who travel to her aunt’s creepy old mansion in the country to spend their summer vacation. What they don’t know is that Gorgeous’ aunt is really an old spirit who feeds off of young girls who come to visit her. Items in the house (chopped wood, mattresses, pictures, and an old piano) all eat the girls one by one until the climax of the film when…well…I don’t wanna spoil it anymore. You just have to see it to believe it.
            Director Nobuhiko Obayashi has created a film that is all kinds of insane by using so many different camera tricks, colors, animation, film-within-film, split screens, crazy edits, and much much more. The movie started and ten minutes later I was trying to catch my breath and soak in everything that was happening. Visually, it looks like Suspiria on steroids, it has the feel/tone of The Evil Dead, and the energy/humor of a Three Stooges episode. Is all that possible in one movie? Of course it is! There are no limits to what House will do.
            One of the many things I love about this movie are the girl characters. Each one of them has a ridiculous name that relates to their character in some way. So, Gorgeous is stunningly beautiful, Prof is a genius, Melody plays the piano well, Mac is fat, Sweet is charming, Fantasy is a day dreamer, and Kung Fu knows kung fu really well. Of all of them, Kung Fu is my favorite. Anytime a door needs to be knocked down or someone is in trouble, she arrives on the scene and leaps all over the place in a hyper edited form with crazy kung fu music blaring. She’s a blast! Fantasy also has some hilarious day dream sequences as well, especially when she dreams of prince charming taking her away on his valiant steed right after she’s just seen her friend get eaten by a piano.
 Now, the thing to remember here is that this movie was meant to be fun. Yeah it’s about a haunted house that eats young girls, but it is not serious for a second and you shouldn’t take it that way for a second either. It is pure adrenaline that’s sole purpose is to entertain. And entertain it will. I should warn you that it is extremely different than anything you’ve ever seen before. The humor and visuals can be very off-putting during the first twenty minutes if you’re not into these kinds of films.  But if you are still reading this review then you are probably all about something bizarre like this.  
            Truthfully, I haven’t been this entertained by a movie in awhile. It’s a beautiful melting pot of art house, horror, comedy, and kung fu all steaming in a Japanese stew of awesomeness. Movies like this are the reason why I love the horror genre. Just when I think I’ve seen it all, something like House comes along and rocks my world. The Criterion Collection has released the film with beautiful packaging and tons of extras to boot. Get it on Amazon or come over to my house and watch it with me because I’m dying to see it again!  

-Dave

Halloween (1978)

            At last we arrive to the culmination of all things Hallows eve; John Carpenter’s Halloween. I want to say that this isn’t going to be so much of a review as it is going to be a all out declaration for how much I love this movie. By now, there is nothing I can say that hasn’t already been said about this brilliant film, all I can do is declare my love. So, here I go, it’s about to get mushy in here.

            If you have never watched Halloween on Halloween night then you have never experienced the holiday the way it should be. Everything about this movie harkens back to a simpler time when Halloween wasn’t so commercialized and kids really did trick or treat all over town. It reminds me of being little and my parents taking me to various neighborhoods all over town. I remember the neighborhoods were full of ghosts, ghouls, goblins, and witches parading through the streets with pumpkins full of candy. But I also remember having a repressed fear in the back of my head the whole time; what if one of these costumes was really hiding something evil? What is the boogey man was real?

            That is the essence of Carpenter’s film. Michael Myers is the embodiment of pure evil. He doesn’t have a face, other than that ultra-creepy mask, he doesn’t speak, and for this first film, he has no motive. His only goal in life is to murder and if you just stop and think about it for a second, that is truly terrifying. More than Jason Vorhees or Freddy Krueger, Michael Myers carries an air of menace about him that elevates him above every other slasher villain in history. The image of him simply standing on the street corner, watching silently, is so unnerving that I think about it every time I look out the windows at night. He does this thing where he fades into the darkness and it takes a few seconds to realize he is there, only moments later to fade out and disappear. I’ve never seen it done that well in any other film I’ve ever seen.

            To those of you who watch this film and call it “dated” or "cliché”, I would like to remind you that this is considered the first pure slasher film. John Carpenter did it first and he did it the best. Unlike the countless slasher films that came after Halloween, Carpenter chose to use very little onscreen blood and gore. In fact, I would consider it nearly bloodless. Instead, Carpenter makes use of lighting, shadows and camera angles to give us an eerie frame for the murders committed. He keeps Michael mostly in the shadows as well, only making himself seen right before he does someone in. This use of darkness, shadows, and how he uses the camera help create an atmosphere that is unknown to nearly 99% of the slasher films that came after it.

            Carpenter also created the classic score for the film. It is simple and redundant but highly affective. I love the sweeping shots of the neighborhoods streets with the fall leaves all over the ground as the score quietly ratchets up the tension as we watch. It is a testament to what music can do for a film.

            Top it all off with Jamie Lee Curtis (the first scream queen) as Laurie Strode and a blazing climactic showdown that ends up in Laurie’s closet and we have my favorite movie of the season. I’ve watched it every Halloween for a very long time and it puts a perfect cap on the season. It is essential for getting the most out of your holiday.

            This wraps up my picks for our Highbrowloween season. I hope that some of you who read this got to watch one of these films and caught on to some of the fun that we get from watching them. Halloween may soon be over, but it’s Halloween nearly 24/7 for Chris, Jonah and I. Stay tuned. 

-Dave

Poster by Micah Moseby.

The Evil Dead (1981)

            There are many great horror films you should watch around Halloween time. Here at Highbrow Horror, we’ve covered the meat and potatoes of what we consider great movie marathon material for this time of year. So what are the perfect elements of a worthy Halloween movie? Gore, goofy dialogue, demons, gore, Bruce Campbell, and a cabin in the woods. If you haven’t guessed it by now, I am speaking of the splat-stick masterpiece Evil Dead.
            As a young child I can recall going into the horror section at every video store I ventured into, and Evil Dead always seemed to stick out to me for some reason. It was probably that sweet movie cover. Unfortunately, I didn’t have the opportunity to watch the movie until much later. Actually, just about four years ago around this time of the year I bought it on a whim. The first time I watched it, I was in awe of what I saw. So much so that I went back and bought the other two films in the series to complete the trilogy. What is all the fuss with this movie you say? Well let’s sink our chainsaw into it!
            Five Michigan State students travel to an isolated cabin in the woods to have a weekend of fun. Shortly after arriving, one of the guys stumbles upon an old tape recorder in the basement, and the book of the dead. The whole group has a listen to the tape, and thumbs through the book of the dead. Bad idea. Sure enough before they know it they have released ancient demons and they have come to wreak havoc on the poor students in the cabin. It’s up to Ash to save the night and ultimately become a hero.
            Sam Raimi and company were forced to work within a small budget, much like their horror counterparts of the 80’s. They actually filmed a short called Within the Woods, which they used to go around to doctors and pitch their movie to see if they would be interested in investing. It ended up working well enough for them to finance Evil Dead. The film as a whole took about a year in a half to film due to time restraints. Filming would often be rough for actor Bruce Campbell who would be covered in corn syrup and coffee creamer on a nightly basis in the near freezing temperatures. After debuting at the Cannes Film Festival, it was picked up and released in theatres in 1981. 
            Evil Dead has gained a loyal cult following, and deservedly so. The gore is outrageous and there is so much blood its funny. The whole movie there is a demon locked in the cellar in the living room. She looks wicked and just stands there and says the funniest things to everyone. One by one everyone mostly turns into a demon, which Ash has to deal with in some way or another.  Don’t forget the notorious tree rape scene, although it’s not as bad as it sounds. There are a few creepy moments, but overall it is just a fun, bloody movie that never takes itself too seriously. Did I mention how much humor is in this thing?
            While the Halloween spirit is in the air, do yourself a favor and check out Evil Dead. It’s available for instant streaming on Netflix, and if you don’t have access to that, then it is more than likely available for rent or purchase in your town. Pick it up tonight and watch it with some friends. Such pretty skin, give it to us!


-Chris

Poster by Micah Moseby. 

The Shining (1980)

            I’d like to start off this entry with a confession: I will not be able to do this film justice.  I just can’t do it.  I’m sorry.  To convey the sheer brilliance of Stanley Kubrick’s The Shining in a relatively brief blog post is a nearly impossible task, one that surpasses my abilities as a writer.  Nevertheless, I am going to give it my best shot.  Here we go.

            I remember the first time I saw The Shining.  It was October of 2002 and I was in the eighth grade.  Halloween was near and my friends and I were at the local Hollywood Video browsing through the horror section, looking for something scary.  We decided on The Shining.  None of us had seen it before and the sight of Jack Nicholson’s menacing grin on the cover of the display case had already gotten me nervous.  That night, we watched the DVD in a dark, empty house, illuminated only by the glow of the television set.  I didn’t blink once.  I’m not entirely sure how my friends felt about the movie.  Not much was said about it when it was over.  But I do know how I felt.  I remember it vividly.  Feelings of utter shock and terror put aside, I felt enlightened. 

            Being fourteen years old, I had a very primitive understanding on the concept of art.  I learned from social studies class that art could be found in paintings, classical music, and literature.  But after that first viewing of The Shining, I had discovered, first hand, that art exists in film.  I was born in the 80’s, so inevitably movies have always been a big part of my life.  Needless to say, this realization was a big deal for me.  From that point on, I raised my standards for cinema significantly.  In essence, The Shining made me into the pretentious movie snob that I am today and for that, I hold it in the upmost regard.

            Adapted from Stephen King’s novel of the same name, The Shining tells the story of Jack Torrance (played by Jack Nicholson), a writer who struggles with anger management issues.  Jack has been given a job as caretaker for the Overlook Hotel, an isolated lodge in the mountains that is inaccessible during the winter.  Jack, his wife, and his son (Wendy and Danny, respectively) are to occupy the empty hotel for the duration of the winter.  However, unbeknownst to Jack, the Overlook has a dark past.   This becomes evident to Danny almost immediately, thanks to the telepathic gifts he possesses.

            Director Stanley Kubrick is completely unforgiving in his effort to terrorize his audience with this movie.  In The Shining he creates a completely dehumanizing experience that grabs a hold of you immediately and refuses to let go, even after the credits roll.  Love interests and comic relief are nowhere to be found here.  As a cinematographer, Kubrick is unmatched in his ability to create visual tension.  Long, low-angle steadicam shots give the audience the uneasy impression that the characters are not alone as we follow them through the empty, maze-like halls of the hotel.  Recurring patterns in the wallpaper and carpet further lend us to the feeling that we’re falling down the rabbit hole.  Kubrick places his subjects in the dead center of the frame giving us perfectly symmetrical images, illuminated with practical lighting, leaving noting to the imagination.  Not once does Kubrick suggest that something could be lurking in the shadows.  Nor does he resort to cheap, loud jump-scares.   All of his disturbing imagery is right in front of you, starring you in the face, forcing you to accept what is happening.  Doubt and disbelief are luxuries that Kubrick leaves no room for.  Instead he offers only fear and shock in broad daylight.

            From a visual standpoint, The Shining is a complete success.  But if we continue to dig deeper into this film, we find more terror hidden below the surface narrative.  From the beginning of Stephen King’s novel, it is made very clear that The Shining is a supernatural ghost story taking place in a haunted hotel.  Yet for the film adaptation, Kubrick decides to tiptoe around this approach and aims for something much darker.  Jack, the film’s protagonist, is a recovering alcoholic whose past is just as dark as that of the Overlook.  His inner demons have possessed him longer than any lingering spirits in the hotel have.  While on the surface, Kubrick’s film appears to retain many supernatural elements, it can be argued that the terrors haunting the Torrance family are all psychologically based and result from their extreme isolation and inabilities to deal with their own dark family secrets.  The further Jack falls into madness, the harder I find it to believe that any external forces are influencing him.  It is worth noting that every time a ghost appears to Jack, he is in the presence of a mirror.  I believe that Kubrick found the premise of spirits tormenting an innocent family in a haunted hotel to be juvenile.  I also believe that he found a way to brilliantly sidestep this idea so subtly that he could manage to frighten people in a new way that would impact them even if they didn’t pick up on any subliminal cues.

            Well, there you have it.  I could write volumes on this movie, but I’ll restrain myself and leave you with this very bold statement: The Shining is the greatest horror movie ever made.  Disagree with me.  I don’t care.  You’re not going to change my mind.  That’s my position and I stand beside it unashamed.  If you haven’t seen The Shining I recommend you do so as soon as humanly possible.  I’m signing off now.  Happy Halloween, folks.

-Jonah

Poster by Micah Moseby.

The Exorcist (1973)

            Horror movies have been apart of my life ever since I was a little kid. I remember there was a store in Tulsa called Media Play that had all the classic Universal monster movies on VHS and my mom bought them all for me. I grew up watching the original Dracula, Frankenstein, The Mummy, The Wolfman, and loved every second of it. In middle school and junior high, my friends and I would hold marathons where we would watch all the Friday the 13^th or Nightmare on Elm Street films in a row. I saw it all at a young age because nothing was off limits when it came to horror, except one film: William Friedkin’s The Exorcist.

            When mention was made of this film, my mom’s face would turn dead serious and she would forbid me to ever see it. She would tell me stories about her friends who saw it and then regretted every second of it. My uncle told me that there were images in the Exorcist that he wished he had seen because he can’t get them out of his head. Then, upon further research, I read about the outcry and shock the general public experienced when the film was released in 1973. People were fainting in their seats and walking out of the theatre early in shock. The Reverend Billy Graham would even claim that there were demonic forces actually living in the film print of the movie itself. So, with all this commotion about the film, I just had to watch it.

            I remember the night I finally watched it like it was yesterday. I was a freshman in high school and staying the night at my friend’s house when some other guy’s we knew brought the film over. I finally had a chance to watch it. When it was over, my friends and I had just sat through two of the most harrowing and intense hours of our lives and witnessed one of the greatest horror films ever made.

            Is it really necessary to give a plot summary for this one? The possession of Regan MacNeil by the devil himself is a story that sends shivers down the most hardened of horror aficionados’ spines. I think what is so terrifying about the whole situation is that this happened to an innocent little girl. Regan isn’t some slasher-pic bimbo running around half naked throughout the film. Instead she is a twelve-year-old girl who loves her mother and those close to her. She did nothing to deserve the awful things that happen to her throughout the film. So if it happened to her, could it possibly happen to us?

            Everything about this film is perfect. First of all, every single performance is spot on, especially that of Linda Blair, who plays the possessed girl Regan. Her performance isn’t so much an acting job as it is a physical transformation. Despite voice enhancement techniques and such, Linda Blair truly provides us with a chilling look at possession. Everything she does is so disturbing that I always have a hard time believing that a twelve year old girl actually did and said some of the abominations Regan yells.

            Jason Miller (Damien Karras, the priest working with Regan) also provides a great and nuanced performance as a man on the brink of losing his faith and challenged with something that can save it or bring him to his knees. And when Max von Sydow (Father Merrin) shows up to help with the exorcism at the films finale, he proves why he is one of the greatest actors around.

            There is a moment before the exorcism scene, when Father Karras is making his slow ascent up the stairs to Regan’s room. He comes to the door and cracks it just a bit so that some of the light comes piercing into the hallway. He turns his face to the side and you can see his breath as he shivers from the cold emanating from the room. Every time I see this scene I yell, “Don’t go in!” But he does and it leads to the horrific finale.

            During the exorcism, Regan levitates, shakes violently, calls out awful curses and abominations, her head spins around 360 degrees, and she vomits all over our two priests. It is probably the most harrowing scene I’ve ever watched in a film. It drains me emotionally to watch it. And when Father Karras finally realizes what he must do to save Regan, I nearly cry. It’s a powerful and incredible scene pulled off with expert precision by director William Friedkin. His direction throughout the film is taut and precise, constantly raising the feeling of claustrophobia to unbearable heights that puts knots in the viewer’s stomach. He utilizes every aspect of film technique to scare us, from wide and sweeping shots of chaos, to tight shots of horror, a score that screeches and rattles our teeth, and images that shock our senses. He is a master of his craft.

            To wrap things up, The Exorcist more than lives up to it’s hype. There isn’t a second of the film that feels dated or behind the times. It will still disturb and frighten the viewer unlike anything else. Watch it this Halloween and see what I’m talking about. 

-Dave

Poster by Micah Moseby.

A Nightmare On Elm Street (1984)

            Whether you like it or not, Wes Craven is the master or horror. Or he is at least the most successful director horror has ever seen. No one has a better resume that he does. In the 1970’s, Craven was responsible for some of horror’s most shocking pieces. The Last House on the Left and The Hills Have Eyes are two of the genre’s greatest that would much later be remade and achieve big box office success. However, it was in the 1980’s that Craven was finally crowned king with A Nightmare on Elm Street.

            I’ll assume everyone who has been alive for the last century is aware of the films plot, but for fun I shall sum it up. Nancy and her high school friends are being taunted in their dreams by a burnt, “knives for fingers” boogeyman. Once Nancy’s friends start to die off, she confronts an evil past and discovers who and what Fred Krueger is. First off, it is worth noting that Craven conceived the idea for this after reading a few newspaper articles on a young man dying in his sleep. Instead of playing up the “based on true events” gimmick, he decided to blur the lines between fantasy and reality to really toy with the audience.

 Another thing is that Nightmare came out after Halloween and Friday the 13^th. So at this time the slasher genre was alive and kicking into its prime. I think Craven did the smartest and best thing to set his film apart from the rest: give the killer a personality. See, that’s the thing a lot of slasher films lack. Up to that point, the axe-wielding killer just moped around destroying people. But Craven gave his villain the ability to speak, and I believe that is what makes Krueger quite possibly the best horror movie villain of all time. The movie was a huge box office and critical success. It was made with a modest budget of a little over a million and would earn twenty four million more domestically. It would spawn numerous sequels and become a storied franchise. The film was also Johnny Depp’s first starring role. Pretty crazy huh?

            So what else can I say about this film that hasn’t already been said or written about? There really isn’t a lot. The gore is great. The blood flows well a few times and it isn’t too campy or too serious. Freddy’s iconic look was done extremely well and may play a part to why he is practically the face of mainstream horror, right along with Jason Vorhees and Michael Meyers. After all these years, I personally consider this to be one of the top five best horror films of all time. It is absolutely timeless. The bottom line really is, if you haven’t seen this film for some unbelievable reason, please stop making excuses and go rent it. I’d steer away from the remake, as good as it is, it’s just not quite on par with the original. After all, this is one of the quintessential films for Halloween.

-Chris

Poster by Micah Moseby.

            

Demons (1985)

            Here’s a slam-bang gore fest that will have your Halloween spirit bursting from your chest and put a smile on your face as wide as a Jack O’ lantern! We’ve been talking about movies that will raise the hairs on the back of your neck and make you sleep with the lights on all month long, but sometimes it’s good to sit back and watch your television light up with insanity. That is exactly what every gore soaked second of Lamberto Bava’s Demons will do. Once again hailing from across the pond in Italy (can you tell the Italians knew what they were doing?) comes a film of unequaled camp and adrenaline that will get your pulse going from the opening credits.

            The film begins with a masked man handing out free tickets to a special screening at a new theatre called the Metropol. Two college girls, Cheryl and Kathy, accept the invitation, along with a host of other memorable characters. Most notable among these characters is a pimp and his two dates who spout out one-liners like rapid-fire. Once the screening begins, the audience starts noticing that the events in the film they are watching is mirroring what’s happening in real life. Of course it isn’t long before the audience members begin turning into bloodthirsty demons one by one and picking each other off in increasingly gruesome ways.

            At one point in the film, a character shakes his fist at the sky and shouts, “There has to be an explanation!” Do we actually get that explanation as to why all these people are turning into bloodthirsty demons? Will the poor audience members make it out of the theatre alive? Do any of these questions matter? Of course not! What we do get is Bobby Rhodes (the pimp I mentioned earlier) kicking some major demon tail, amazingly awful dialogue (see quote above), ultra-gory demon transformations/murders, and a climax featuring a dude on a motorcycle chopping off demons heads with a katana. Top it off with a pulsing hair metal score that screams, “This movie was made in the 80’s,” and we have the makings of a classic.

            Dario Argento’s name is attached to this project as a writer and producer. I think he got bored of making artfully crafted films and decided to write something totally off the wall and crazy. That being said, even though it is directed by Lamberto Bava, it is easy to see Argento’s influence. The movie theatre provides a gigantic set piece for numerous gory murders and mayhem to occur in. It is also very well lit and colored. One shot in particular of the demons walking up a flight of stairs in the dark and fog-covered hallway stands out. Their bodies are nothing more than shadows as they hover through the darkness, yet their piercing yellow eyes are seen plain as day. It’s a great shot that always reminds me that Argento was involved in this movie.

            Truthfully there is nothing scary about this film. But it is an absolute blast to watch. Once the people begin turning into demons, which doesn’t take long at all I might add, the movie turns into a gore soaked party. We get to see people’s throats ripped out, eyes gouged, bodies chewed on, heads decapitated and some spine ripping near the end. It’s one of those movies where you don’t know how the filmmakers are going to top what you’ve just seen until a helicopter falls through the roof…which happens, by the way.

            See Demons (or Demoni, as it’s known in Italy) this Halloween and prepare for the best hour and a half of your life. Then see it again with a bunch of friends and tell them to thank you later. Buy it on Amazon or at a Vintage Stock store, they will have it. It will probably be the best decision you’ve made in a long time. 

-Dave

Poster by Micah Moseby.

The Texas Chain Saw Massacre (1974)

            The 1970’s brought about a new movement in horror films – depicting horror in the real world.  Gone were the days of Dracula and Frankenstein.  Giant insects and flying saucers were no longer a source of fear thanks in part to the social, political and economic changes brought about by the 60’s.  Audiences were beginning to realize the likes of Ed Gein were much more terrifying than that of the Wolfman.  Man is now the antagonist and the true horror lies in the horrible acts he is capable of.  If man is the monster, then none of us are safe.  This realization along with a loosening of censorship laws brought about a need amongst filmmakers to constantly push the envelope and strive to portray grizzly, upsetting realism in their work.  

            Director Tobe Hooper was on the forefront of this movement with his 1974 film, The Texas Chain Saw Massacre.  Made on a shoestring budget, this tale of a group of kids traveling through Texas in a van conveys a truly bleak view of mankind that is unnerving to say the least.  When the travelers offer a lift to a strange hitchhiker, their road trip starts to go south.  As it turns out, the young man they pick up comes from a long line of slaughterhouse employees who are now out of work.  His hobbies include cutting himself and others with a straight razor.  Needless to say, his ride doesn’t last long.  They kick him out of the van, but as luck would have it, they’re also low on gas and they soon find themselves stranded in the hot Texas sun.  It is when they seek help in a seemingly normal farmhouse in the middle of nowhere that the true terror starts to unfold.

            The film opens with a narrated warning stating that it is an account of  “one of the most bizarre crimes in the annals of American history”.  Are the events portrayed in this film true?  Not at all.  But this disclaimer, along with the low budget cinematography, give The Texas Chain Saw Massacre a documentary-like feel and helped establish it as one of the most controversial movies ever made.  The sound in Massacre also lends itself to the film’s realism.  It makes use of a minimalist soundtrack that leaves many of the most intense scenes in the movie to be scored by only screams and the revving of a chainsaw, further leading to the feel that the events taking place on screen actually happened and were not filmed for the purpose of entertainment.  Another area of success for Massacre is in its creation of atmosphere.  Thanks to the harsh, unforgiving weather conditions this movie was shot in, you can watch it in the dead of winter and still break a sweat.

            Despite its reputation, there is very little explicit blood and gore in this film.  Hooper makes use of cinematography, sound, and set design to tell a story that focuses on suspense and still manages to be terrifying, even in today’s world of over saturated torture porn.  It is considered one of the most controversial and influential horror films of all time and is required viewing for fans of the genre.  Like most great horror films, this one has been remade.  So make sure when you rent it, you’re getting the right one.  For a truly haunting experience this Halloween, check out The Texas Chain Saw Massacre.  It will deliver. 

-Jonah

Poster by Micah Moseby.

Zombie (1979)

             The 1970’s are considered by many horror fans to be the “Golden Age” of horror. Many of the most controversial and sickest movies of the era and of all time were being churned out during this period. This was the world’s first introduction to such greats as Wes Craven, John Carpenter, Tobe Hooper, and David Cronenberg. While all of these filmmakers hailed from North America, there was something magical brewing over the pond in Italy. And in 1979 my friends, the world was introduced to Lucio Fulci’s Zombie.

            Zombie, or Zombi 2 as it was released in Europe, was in indirect sequel to George Romero’s Dawn of the Dead. Although it did debut the year after Dawn, neither films have any relation other than Zombie trying to cash in off the success of Dawn. The film opens up in New York City where we see an abandoned boat. The police have been called to investigate, only to discover a zombie stowaway. From there we meet Anne, the daughter of the owner’s boat. She is distraught to hear the news because she hasn’t heard from her father other than that he is on a tropical island conducting research. Hotshot reporter Peter West is assigned to report on the boat. The two accidentally meet on the boat, only to discover a mysterious note left by Anne’s father saying he has contracted a rare disease on the island of Matool. Anne and Peter decide to figure out what is going on, and depart for Matool. They meet up with a couple who is out to sea, and depart in their boat for the island. Once there they meet Dr. Menard, a physician who is investigating the strange occurrences on the island. The rest of the movie is an all out zombie fest of the bloodiest kind.

            First of all, you have to talk about the makeup. The FX and gore are so good it’s scary. Giannetto De Rossi was at the helm, and boy did he deliver. Just take a look at a zombie from Dawn, and a zombie from Fulci’s film. Then consider that the two films are merely a year apart. Among the superb gore work is: the trademark eyeball scene, lots of nasty flesh being eaten, and zombies coming out of the ground. It’s all just rather stunning. The next thing that really sticks out is the cinematography. This film is shot so damn well. It doesn’t look like you are watching a film from the late 70’s, or a foreign film for that matter. While the American’s were putting out low budget, grainy horror epics, the Italians were offering the world slick, hauntingly beautiful masterpieces. The acting serves its purpose. I’m not so sure anyone is actually paying attention to the acting anyway. The movie is chock full of mediocre to slightly bad dubbing, but that’s always kind of fun. Lastly, the score by Fabio Frizzi is awesome. There’s not much else you can really say about other than that.

            There are some great memorable scenes in Zombie. Probably the most talked about is the shark scene. In this part, one of the women on the boat that’s sailing out to the island goes sea diving. Before too long she is face to face with a zombie. This is interesting because this may be the first experience with a zombie under water. A fight then ensues between the undead and a shark, which is pretty incredible. This scene was also recently featured in a Window’s 7 commercial. The next and perhaps even greater scene is the eyeball scene. Dr. Menard’s wife is home alone and has a zombie encounter. She manages to lock herself in the bathroom, but the zombie’s strength shatters part of the door and pulls her by her hair, impaling her eye on a large splint of wood. This scene would later spawn more eyeball splatters in Fulci’s work.

            While there are as many zombie films as there are zombies in them, very few stand the test of time. Right up there with Romero’s original trilogy, Zombie is timeless. It’s epic, bloody, and fun as hell. If you are looking for the right zombie movie for Halloween season, I can’t say there are many better than Lucio Fulci’s ZOMBIE.

-Chris

Poster by Micah Moseby.

Suspiria (1977)

            Before I delve into the crux of this review, I need to give a little exposition. Suspiria is not an American horror film. It comes from the golden age of Italian horror and directed by the countries greatest genre director, Dario Argento. Italian horror films are nothing like what comes out of Hollywood. Don’t go into this film expecting a logical narrarative arc and plot. The Italians don’t have much use for these type of things, instead they choose to focus on sights, sounds, imagery, and color to tell their stories. The first time I watched this film, I was thrown off because of this, but my mind was being opened to an entire new realm of cinema.
            The film begins with Suzy Banyon, an American ballet student, landing in Germany to attend a prestigeous dance academy in Freiburg. After a confusing series of events upon her arrival, including a girl fleeing the building in a state of panic, Suzy settles into her new school. She is treated nicely by Madame Blanc and Miss Tanner, the school officials, and finds a new friend in a girl named Sarah. However, she begins to suspect things are amiss when students begin dropping dead and odd occurences start taking place, such as maggots falling from the ceiling. It isn’t long before Suzy uncovers a deadly secret in which the dance academy is really a front for a coven of witches.
            The first twenty minutes of Suspiria is an all out assault on the senses. Before the opening credits hit the screen, the film’s fantastic score fills the room. The Italian rock band, Goblin, handled the scoring duties and created one of the most intense and memorable scores ever recorded. Pounding drums and screeching a-tonal string arrangments give way to the soft twinkling of bells that are reminiscent of the Exorcist theme. It’s one of my absolute favorite pieces of music in any film I’ve seen. Being that the film came out in 1977, the score is incredibly ahead of it’s time. If it showed up in a film today, it would not sound dated one bit.
            After the credits roll, we see Suzy land at the airport and seek a taxi cab. Outside it is pouring down rain and the score is blistering the viewers ear drums. As she rides in the cab through the Italian city and countryside, we are first exposed to the colorful realm of Argento’s films. Overall, this scene is dark but everything becomes saturated in beautiful reds, blues, and greens. The whole film is shot this way with the cinematographer using subvertive tricks to let tons of color into each scene. Because of the wild color scheme, it really gives the film a dream like quality. And as Suzy rides the taxi to her new school, with the music in full force, and tons of color filling the screen, it really does feel like a dream. This film looks like nothing you’ve seen before.
            If the opening scene is key to establishing the mood and atmosphere of the film, then the first murder sequence is where it shows it’s teeth. Dario Argento has long been known for filming incredibly long and elaborate murder scenes and Suspiria shows him in his prime. The set-up to the initial murder is long and brooding making the tension thick. Once the murder actually begins happening, it feels as if it will never end. I don’t want to give anything away, but it is one my favorite death scenes in a movie. The violence is oddly beautiful in the way it is concieved and shot.
            That being said, Suspiria has falsely received the reputation as being a very violent and gory film. Don’t get me wrong, it is incredibly violent, but the body count is low and the gore on display is tame compared to the other films we’ll be talking about this Halloween season. It is the build up and length of the murder scenes that make us feel like we’ve seen more than we actually have. That is smart film-making and credit of this soley goes to Argento. The man truly knows how to craft a scary scene. 
            Argento never lets off of this mood and tension throughout the film. Every frame fills as if there is something amiss and creepy in the air. This isn’t a Neve Cambell or Nicole Kidman type of movie about witches. What is going on at the dance academy is much more compelling than anything in those films. And as Suzy continues to unravel the school’s secrets, she comes closer and closer to a truth that endangers more than just her life.
            Basically every aspect of this film screams, “It’s Halloween!” I watched it for maybe the sixth time the other night and when it was over, I wouldn’t have been surprised if there were little kids trick or treating outside. This movie is a little more obscure than most of the film’s we’ll be talking about on here. You can’t just go to Blockbuster and rent it tonight. However, it is widely available on Amazon and Netflix. So don’t miss out on Suspiria this Halloween!

-Dave

Poster by Micah Moseby.

Dawn of the Dead (1978)

            I can think of no better way to kick off the Halloween season than with a Romero film.  In 1968 George Romero ushered in a new era of terror.  Night of the Living Dead revolutionized the horror genre.  Not only did it introduce the modern zombie, it also managed to bring horror out of mysterious dungeons and haunted houses and into the real world, thereby influencing nearly every horror film that followed it.  Ten years later, Romero followed up his masterpiece with an indirect sequel, Dawn of the Dead.  While both films succeed in creating tension and invoking terror, Dawn of the Dead is, more than anything, a film about human nature.

            The film begins shortly after the outbreak of the zombie apocalypse.  The dead have started to walk and have developed a taste for human flesh.  Anyone with a pulse is now in danger of being bitten and joining the ranks of the living dead.  The opening scene finds us in a crowded television studio.  Everyone is panicking as a talk show host and a doctor argue over the air about the best way for people to deal with the undead.  It is here that we meet a pilot and his girlfriend who are planning to hijack the station’s helicopter in order to make their escape.  Not far away, a SWAT team invades an apartment building in an effort to enforce a mandatory evacuation of the premises.  As chaos ensues, two of the SWAT team members manage to hitch a ride on the stolen helicopter.  The group seeks refuge in an indoor shopping mall where they must fight off an ever-growing congregation of the living dead.

            From the very beginning of the movie, it becomes clear that Dawn of the Dead is far more than your average horror flick.  A good ten minutes goes by and there isn’t a single zombie to be found.  What we do see is what human beings are capable of in the midst of utter chaos.  We are shown a news anchor refusing to listen to reason, a producer more concerned with ratings than the safety of his subordinates, excessive and unwarranted police force, racism, and police officers taking pleasure in the killing of the innocent.  Romero is clearly stating that human nature is far more terrifying than any flesh-eating monster could ever be. 

            As soon as our heroes arrive at the mall, they start to speculate on the reason so many of the living dead seem to be gathering there.  They conclude that this was “an important place in their lives”.  This statement speaks volumes about Romero’s attitude toward consumerism in America.  Dawn of the Dead was released at a time when indoor shopping centers were a relatively new phenomenon and as we are shown dozens of mindless zombies wander aimlessly from shop to shop, we can’t help but admit that Romero’s film has been strangely prophetic.  As soon as the group gains control of the mall, they are left with nothing to do but wander aimlessly through stores themselves.  As they spend their mundane days trying on clothes and equipping their shelter with the finest name-brand furniture, they must ask themselves who the real zombies are.

            Social commentary and dark humor aside, Dawn of the Dead is still very much a horror film.  The gore is abundant and the body count is high, so don’t go writing it off if you’re concerned about it being to ”preachy”.  While the makeup effects are somewhat dated (the zombies appear bluish gray and the blood is a bright neon red), the film’s message hasn’t aged a day.  If you can’t get past the primitive, low-budget special effects, there is a remake out there you’ll probably enjoy.  The explosions are bigger and the zombies are faster, which is neat (I guess).  But if you’re truly interested in seeing some highbrow horror, check out George Romero’s Dawn of the Dead.  You won’t be disappointed.

-Jonah

Poster by Micah Moseby.

HIghbrowloween

            October is here which means the Halloween season is in full swing.  We here at Highbrow Horror look forward to October 31st like most people look forward to December 25th.  While the Christmas season and All Hallows’ Eve may seem like polar opposites ideologically (one celebrates the birth of Christ and the other is concerned with warding off demons), many look forward to both for the same reason – the movies.  Like it or not, scary movie season is here and before there can be a miracle on 34th Street, there must be a nightmare on Elm Street.  All month long we will be bringing you reviews of classic horror films that will help you get the most out of this Halloween season.  As a bonus, each of these reviews will be accompanied by an original movie poster designed by yours truly.  So now is the time to head to the video store and pay off all your late fees, because you don’t want to miss out on any of these horror gems.  Highbrowloween is here.  Stay tuned.

-Jonah

Martyrs

         Welcome back to French Horror 101! This may be my last installment in this area for a bit, but Dave will soon have his review up of the film that started the “French Horror Wave”. Before I get started with my review, I must warn anyone that shows interest in viewing this film. This movie is heavy stuff. There is even an introduction by the director before the movie starts, warning viewers of what they are about to view. Granted you’re not seeing a snuff film, but you will see stuff that is highly upsetting. Now let’s take a look at Martyrs.

         Martyrs starts off with young Lucie, our main character who has been imprisoned and abused for some time, escaping her abductors. She is brought to an orphanage where she befriends Anna, our other main character. We get a glimpse into their friendship as children. It is apparent from the start and later on that Lucie and Anna are best friends, with Anna acting as a caretaker to Lucie. Fast forward fifteen years. Lucie discovers who her captors were and where they now live. One unlucky morning, the family is greeted by Lucie and her fully loaded shotgun. Lucie informs Anna of what she’s done, and the two try to make sense of the mess. During this whole time, Lucie is being attacked by a strange, vicious creature that hurts her physically. This has gone on since childhood, and continues throughout. Lucie confronts her demons and commits suicide, leaving Anna to pick up the pieces. She sticks around long enough to discover a very dark secret. This is where the madness goes into overdrive.

         Sound confusing? Well, it kind of is. There are a few different things going on at once, but they all come together to make sense. The thing haunting Lucie isn’t totally a subplot, but it is very evident for half of the film. The movie will make sense about midway through the film, then again at the end. The biggest aspect of Martyrs is that it transcends genres. This film is honestly as much a dark drama as it is a horror film.  You will be disgusted, pissed off, upset, and shocked at what you see in this film. But there is something much deeper lying beneath Martyrs. The underlying message will be what you make of it. This will definitely take a long time to sink in, and will probably keep you thinking about it for a few weeks.

         The tone of the film is total dread. You never know what is coming, but you feel like the outcome won’t be promising. The gore isn’t there for the sake of gore; this is one of the few instances where this is true in a film. Though, what gore you do get, it is done superbly. The cinematography is sweeping and luscious, while the score is very interesting, but works perfectly. The final thirty minutes of the film can be unbearable to watch. It’s a grueling experience, but it is necessary for the film. Overall, Martyrs is a horror masterpiece that truly transcends itself and becomes something larger. If you can tolerate the things you see in Martyrs, you will be paid off with an incredibly unique film experience. That is something that can’t be said of too many horror films of the last decade.

-Chris

Hatchet

            My first two reviews here at Highbrow Horror have been of very straight faced, serious horror films. I love them because they truly are terrifying and have been deemed so by nearly everyone who has seen them over the years. However, I don’t think I enjoy anything more than a good ole’ gory schlock fest full of dark humor and insanity that doesn’t take itself seriously for a second or is too low budget to know better. And that is exactly what Hatchet is.

            Back in the 80’s, one subgenre of the horror film reigned supreme, the slasher. Slasher films never pretended to be more than they were, which was outrageously violent, ultra sleazy, nudity-filled gore fests. This subgenre has yielded some of the greatest horror films of all time such as the Friday the 13^th series, Nightmare on Elm Street, and even more obscure films such as Maniac and Henry: Portrait of a Serial Killer. In the 90’s there was the Scream franchise and after that, Hollywood began churning out mainstream re-makes of these films and others from around the globe. It seemed that no one had an original idea anymore.

            Then in 2006, writer/director Adam Green gave us Hatchet. The film boasted two tag lines, “It’s not a remake. It’s not a sequal. And it’s not based on a Japanese one,” and “Old school American horror.” I am happy to say that these two taglines perfectly capture the light feel and awesome approach to this wildly gorey romp through the swamp.

            The film introduces Victor Crowley, a deformed and hideous creature who lives in the Lousiana bayou. As a child, he lived with his father, who kept him hidden away from the rest of society as he was constantly made fun of and humiliated. One Halloween night, years ago, a group of kids gathered at the Crowley house to scare Victor by throwing fire crackers on the front porch. Victor was alone while his dad was out in town. Accidentally the house was caught on fire and Victor was trapped. When his dad arrived home, he quickly grabbed a hatchet and began to chop down the front door to get to his son. Little did he know that Victor was on the other side of the door and the hatchet killed his son. Now, Victor Crowley haunts the swamp and gruesomely murders anyone who dares venture into it. This legend becomes all too real when a swamp boat tour is broken down near Victors house. One by one the members of the tour are picked off as Victor Crowley exacts his revenge against the society that ruined his life.

            This movie is clearly made with one type of audience in mind, the slasher film audience. It doesn’t pretend to be anything it’s not for one second. There isn’t any hidden subtext rich in social commentary on the state of America or anything like that. It plays out with its tongue firmly planted in cheek and embraces everything that happens with arms wide open. People complain that it’s too funny, or that Victor looks like something from the Goonies, and to those people I would say, chill out! I think everything about this movie is intentional and made to make us laugh and squirm.

            And squirm we certainly will, as the gore score is off the charts in this one. We see people’s limbs wripped from their torso’s, numerous decapitations, a man hacked in half sideways with a hatchet, a sandbelt sanding away a girls lower jaw, and a womans face wripped in half via Victor Crowley’s bare hands. It’s all done “in camera” with traditional F/X, no CGI and it looks amazing. I’ll take this type of gore any day and this instantly gives the film more props from me.

            Top it all off with a handful of awesome cameos from Robert Englund (everyone knows him as Freddy Krueger), and Tony Todd (the Candy Man). Victor Crowley is played by Kane Hodder, everyone’s favorite Jason Vorhees from the Friday the 13^th series.

            So, as you can see, this is a winner with me. From it’s light campy tone, the amazing gore F/X work, to the cameos of genre favorites, Hatchet is a film that sets out to make the slasher fan happy, and it worked very well with this slasher fan.

            Hatchet 2 comes out October 1^st unrated to theatres and promises to up the ante on all accounts. If you are a fan of gory horror films, you’ll see Hatchet 2 in theatres because this hardly ever happens. Most of the time the MPAA comes in and cuts a violent film to shreds and we only see a portion of the directors vision. With Hatchet 2, we get to see everything Adam Green wanted us to see, and I can’t wait to see it for myself.

-Dave

Poster by Micah Moseby.

Dead Snow

  A group of medical students are spending the week at a secluded cabin in the mountains to relax and escape the stress of school.  Unfortunately for them, their cabin sits atop the site where a large battalion of Nazis froze to death during WWII.  Oh, by the way, the Nazis are now zombies.  How? Why? That’s not important.  What is important is that these college kids are now in a fight for their lives against a troop of flesh eating National Socialists.

            Dead Snow is a movie made by horror fans for horror fans and director Tommy Wirkola makes this very clear from the get-go.  Wirkola’s Norwegian Nazi-zombie flick can be seen as his homage to classic horror comedies of the 80’s and early 90’s.  Fans of the early works of Sam Raimi and Peter Jackson will be instantly sold.  The self-aware nature of Dead Snow is what allows it to succeed.  While the premise of a group of kids visiting a secluded cabin has been done to death, it becomes justified when the characters reference the Evil Dead and Friday the 13th in the opening scenes of the movie.  From that point on, any self-respecting horror fan viewing this film is forced to abandon any “they don’t make them like they used to” attitudes toward contemporary horror and simply enjoy the ride.     

  The first half of the movie is pretty slow-paced, almost to a fault considering the familiar nature of its narrative structure.  Once the students are settled in the cabin, they are visited by a mysterious drifter who claims there is a curse on the mountains and they would be well advised to leave as soon as possible and never come back.  The kids ignore the warnings and the drifter continues to inexplicably wander aimlessly through the same mountains he claims are too dangerous for any human to inhabit.  Even though a good forty-five minutes are spent setting the stage in Dead Snow, the characters are still relatively one-dimensional, with the only real attempt at depth being that one of the medical students is, ironically, afraid of blood.  

  However, the uneventful first half of Dead Snow is completely redeemed once zombies start to rise from the snow.  As soon as the living-dead Nazis begin to attack the cabin, any notion that Wirkola would not be able to live up to the standard of classic horror he references at the beginning of the film is instantly abandoned.  Dead Snow features the cutting edge in gore-related technology and showcases a brutal struggle for survival as the characters face off against the undead Third Reich.  Each blood-soaked attack leave will you thinking, “There is no way they can top that” and yet, somehow, Wirkola manages to continue to outdo himself in every scene until the credits roll.

Horror connoisseurs are sure to appreciate Dead Snow, a film that is truly aware and respectful of its roots.  If the notion of an unoriginal plot or one-dimensional characters concerns you, then you’re missing the point.  Dead Snow delivers tense and shocking moments as well as thrills, laughs, and plenty of buckets of blood.  This movie pulls no punches and is exactly what you want from a film about undead Nazis.  It’s time to update your Netflix queues, horror fans.  Dead Snow will not disappoint.

-Jonah

Poster by Phantom City Creative.

The Wicker Man (1973)

             A few years ago, I made a mistake. I walked into the movie theatre here in town and bought a ticket to see a film titled The Wicker Man. It had Nicholas Cage in it and it appeared to be a suspense/horror film. Little did I know that I was buying a ticket to the worst hour and a half of my life and that this poor excuse for a movie was actually a Hollywood remake of a much better 1973 British film. After watching the original Wicker Man the other night, I wished to God that I had never seen the remake. I basically knew everything that was going to happen and that doesn’t leave a lot of room to be shocked by the film’s fantastic ending. I did, however, find myself much more engrossed and interested in this odd little film that should have never been touched by Hollywood. For the sake of the rest of this review, I will pretend that the remake does not exist and I will only speak of the 1973 original as a stand-alone film. 

The film starts off quickly as a police detective is flying into Summerisle, an island off the coast of Scotland, in search of a missing girl. Upon arriving on the island, many of the people he comes in contact with claim they have never seen the girl in their life. Even the woman who had originally written him the letter begging him to come help says that she has never seen the girl and that her daughter is perfectly safe. It isn’t long before our good detective, Sgt. Neil Howie, begins to notice the strange behavior of all the inhabitants on the island, such as the frequent song and dance everyone in the town seems prone to, the midnight group copulation in the local cemetary, the inn-keepers daughter banging on the walls at night, and the naked women crying over tombstones. Sgt. Howie holds a meeting with Lord Summerisle, played by the fantastic Christopher Lee, in which he tells Howie that the island worships the old Gods of the sea, land, air, and sun. They believe in being fertile just as the earth is, thus all the sexual nature of the local inhabitants. Howie, who is a devout Christian, is mortified by this and begins a battle of the wits with Lord Summerisle and it’s inhabitants that boils to a fantastic twist and a climax that is truly haunting.

The first thing that stands out about this film to me, is character. The two leads, Howie and Lord Summerisle are polar opposites of eachother. One character represents fundamentalist Christianity and the other Paganism. When Howie arrives on the island, he is quick to throw around the fact that he is a devout Christian. His staunch beliefs are readily apparent as he prays by his bed, while the inn-keepers daughter dances naked in the room next to him, banging on his walls. He is constantly reciting scripture to the locals as they reveal their Pagan ways to him. It’s a perfect example of great indirect characterization that isn’t done hardly at all in horror films anymore.

Then there is Lord Summerisle. He represents the other end of the spectrum, which is Paganism. His entire island runs wild with abberant sexuality and worship of the earth’s elements and he encourages it and enjoys it. He is, of course, a jolly and happy man, but his wickedness is brimming under the surface. His words to Sgt. Howie are not cruel, in fact, he gives Howie permission to do as he pleases in regards to his search for the missing girl, but underneath his kindness is an evil that is not fully realized until the final moments of the film.

What I like most about this film is the fact that the antagonist is not some monster, demon, ghost, or some other genre cliche. Instead, it is the people’s beliefs that bring harm and danger. The idea that someones belief system or religion can bring them to do the most outrageous and inhuman things is something very much rooted in reality and rings true for past history (Jim Jones) and even to current events (Westboro Baptist Church and the Koran burning pastor come to mind). But it’s not just the villagers’ beliefs that are examined, it is also Sgt. Howie’s. The instant he steps foot on the island he brings his judgment and “holier than thou” attitude with him. The clash between these two viewpoints is the focal point of the film. It is something much deeper than what is normally put on display in horror films. While what happens in the Wicker Man is, on the surface, disturbing and scary, digging deeper reveals the true horrors because they have the potential to reside in each one of us. I think the idea that extremism is possible on all sides of the spectrum is something that needs to be heard, especially today.

Now, I don’t like everything about this film. There are moments where I feel that things can become a bit “hokey” for a lack of a better term. The local inhabitants on the island randomly begin singing strage Pagan songs sometimes and dress in outrageous costumes, particularly at the end. That being said, I understand that this was done to disorient the viewer and make us feel like an outsider on the island. And I believe it works rather well, I felt just as much confused and lost as Sgt. Howie did and I think this adds to the mystery and suspense of the film. I just think that sometimes it got a little too over the top and it took me out of the viewing experience just a bit.

That small issue aside, I say see the original 1973 Wicker Man. And don’t look into it much before you see it. The less you know about this film, the more rewarding and disturbing it will be for you. Also, do I need to say avoid the remake at all costs? It will truly ruin the experience for you. I believe the only reason I enjoyed the original so much was because I hadn’t seen the awful remake in years. Don’t let it spoil this very unique, intriguing, and ultimately haunting film. 

-Dave