I have a lot of thoughts about Jordan Peele’s Us, about 95% of which are positive (with the remaining 5% being “less positive,” though not outright negative), which should make it difficult to pin down the one thing related to it that I most urgently want to blog about. Fortunately, all the lines on my multi-track mind occasionally get switched over to a single track with no bottlenecking, so here I am, ready to devote several hundred words or more to the movie’s twist ending, as it relates to twist endings in general.
Bette Davis was only 54 when she starred as the titular character in Whatever Happened to Baby Jane? Joan Crawford was 58. Two middle-aged women helped kick off a sub-genre of horror ostensibly about “old” women who are either themselves imperiled, or are the source of the peril, or both. The genre’s most commonly known as “psycho-biddy,” but is alternatively known as “hagsploitation” or “Grand Dame Guignol.” I prefer the latter, being a fan of the word ‘grand,’ the Grand Guignol, and pronouncing the word “dame” as “dahm.”
Final Verdict: Mayyyyybe worth a watch if you’re curious about a fairly corny, occasionally inspired cult erotic sorta-horror flick.
When you combine being sick in bed on a Sunday with Shudder’s unique streaming alternatives, you can easily find yourself watching something you ordinarily wouldn’t. You ou see, while Shudder’s service has the familiar “watch what you want any time you want” option of every other streaming service, it also has what basically amounts to four “channels” that feature unalterable, programmed content. There’s “Slashics” which–you might guess–runs slasher movie classics. There’s “Wicked Grin” that features more comedic or lighthearted horror / thriller fare. There’s the “Psychological Thrillers” channel, which doesn’t have time for any cute name shit. And then there is the primary channel, “It Came From Shudder” which, near as I can tell, just plays whatever the hell it wants to.
Spoilers abound. Be warned.
John Carpenter’s The Fog initially had an 80-minute runtime before Carpenter, dissatisfied with what he believed to be “a movie that didn’t work,” reshot some scenes to improve what he didn’t care for and make the movie bit more coherent where he felt it was needed. These reshoots included new and extended scenes, which beefed the runtime up to a whopping 89-minutes. Ironically, one of the added scenes makes the movie cut even more abruptly to the chase than it would have otherwise.
In the previous post on the subject of short horror films, I took some time out to gripe about short horror films that don’t even bother to tell a complete story, but instead start and end with (an often quite thin) premise. I wrapped that post up by sharing one of my favorite horror shorts, which actually features a full story, and as such has room enough to also give us at least one legitimate character, who undergoes about as much of an “arc” (something that, admittedly, I find a bit overrated these days in storytelling, but that’s something for another day) as one can in a 9-minute movie.
When discussing horror stories, very few things (if any) irk me more than people being so scared of (or having such disdain for) the dreaded “h-word” that they try to re-categorize a successful horror story. The wild financial success of It has put it in the crosshairs of horror-haters who apparently want to christen it a thriller or even a drama so as not to give credit to any movie associated with that damn h-word. Brian Collins at Birth.Movies.Death rails against this as well as I ever could, so I’m gonna go ahead and leave a link to his article here. Suffice to say, I couldn’t agree more with everything he has to say.
Recently, IMDb shared their favorite foreign posters for horror movies. Even people with a casual interest in movie posters are probably aware that the foreign version of a movie poster are, if nothing else, often weirder and more curious than what we end up with stateside. I wouldn’t say that the Hungarian poster for Star Wars is better than the classic original, for instance, but it’s certainly memorable in its own very different way.
While IMDb’s list is fun and interesting, I’m pretty sure that the number of posters selected is entirely arbitrary. There are plenty of great choices here, but the list could probably stand some trimming. Some of the posters are almost identical to the original Hollywood poster, with the biggest difference being the language for the title, tagline and credits. Some are pretty good, but just didn’t stand out to me, or just didn’t strike me as terribly effective horror movie posters. And while the syntactically ambiguous “Foreign Horror Movie Posters We Love” title leaves the IMDb list open to include posters for foreign-horror movies, I think it’s more interesting (or at least consistent) to just look at the foreign-version of posters for “non-foreign” (aka, U.S. and English) horror flicks.
I am always eager to enjoy every short horror film that catches my interest. Whether the title grabs me, or the short description of the story, or the endorsement of a website or reviewer or friend whose tastes I generally trust, or a recognizable name behind or in front of the camera, if a short film gets me to click the “play” button, it has me ready to meet it halfway toward thinking it was pretty good.
Despite this, too many short horror movies lose me by the ending. Sometimes well before, despite the abbreviated run time.
The film adaptation of Peter Straub’s novel is unsurprisingly simplified in comparison to its source material. While it has its moments, including a fairly well executed and suitably gruesome climactic reveal, and Alice Krige is pretty magnificent in it, it also has more than its share of corny scenes doomed by bad shot selection, or oversold acting, or questionable (even unnecessary) dialogue. There’s an opening scene featuring a man plummeting to his death that’s laughable even by 1981’s “We’re still sketchy on how best to execute believable falling scenes” standards. A later scene of someone falling off a bridge ends with the same clumsy impact seen when a character takes a dive in Les Miserables thirty-one years later. Apparently, in this one very, very specific area, we haven’t collectively learned much in the past three decades.
Not too much to say beyond what’s in the title of the post. I’m glad to see (or hear, rather) that this trailer didn’t use some slowed town, sobered up, somber, twisted, chopped-&-screwed, or otherwise tortured cover version of the song “Proud Mary.” If you’re not too good to use the name, you’re not too good to use the song, and the trailer’s creators recognize this, so bravo to them for that. Beyond that, the trailer is edited well (including a nice bit using diegetic sounds to replace Tina Turner’s vocals) and is solid enough for an action movie trailer.