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 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.

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

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.

Survival of the Dead

            Master of the undead, George Romero is back with his latest installment to his “of the Dead” franchise.  Many complain that Romero is passed his prime. While Romero may not be redefining the horror genre with his later works, his “Dead” films consistently demonstrate clever wit, high tension, thought-provoking themes, and, of course, buckets of gore.  I, for one, have never seen a Romero film I wouldn’t recommend and Survival of the Dead is no exception.

            Like most Romero flicks, Survival takes place during the zombie apocalypse.  The dead have returned to life with a taste for human flesh and anyone who still has a pulse is struggling to survive.  A group of renegade soldiers seek refuge on a small island off the coast of North America.  They soon discover that the island is inhabited by two feuding families at war with each other because of their ideological differences concerning the undead.   One side believes the zombies should be disposed of while the other side believes their souls are still intact and humans and zombies will eventually be able to coexist.  Romero uses these families to provide interesting social commentary for the pro-choice/pro-life debate.  The soldiers must now settle the score between the two families and, at the same time, somehow manage not to be eaten by the ever-growing army of the undead.

            Say what you will about how the acting bad or how the plot is absurd, but you cannot deny that everything about Survival is completely deliberate.  Romero is fully conscious as a filmmaker and his work is unapologetically his own.  This film won’t win awards or be remembered for its innovation or artistic merit, but it is still a thrilling ride from start to finish.  While this may not be on par with Night of the Living Dead or Dawn of the Dead, a lesser Romero zombie movie is still better than 90% of the zombie movies out there and this is one that should not be missed.  Survival of the Dead is now available on DVD.  See it.

- Jonah

Poster by Charlie Adlard.