The last big cash-in on the “Satan’s Gonna Possess and/or Kill You” novel and film craze of the 70’s barely has any direct Christian Devilry in it, especially when compared to its forebears: Rosemary’s Baby, The Exorcist, and The Omen. The evil forces at 112 Ocean Avenue that the film implies can compel a man to commit familicide are a bit of a potpourri of paranormal perniciousness. The house was allegedly built on an “Indian burial ground”; the mass-murderer who used to live there is almost implied to be a quasi-doppelganger of the father and husband (and burgeoning possessed murderer) who currently lives there; and, yes, the home was once occupied by a Satanist, but that last part almost feels like a last-minute add-on.
John Farris began his career in 1956, with the suitably gruesome sounding, brisk mystery novel The Corpse Next Door. His most famous work, however, came in the midst of the 70’s horror boom, with the novel The Fury, a story of telepathic / telekinetic teenager terror that, fittingly, had a feature film adaptation directed by Brian DePalma, who also brought Stephen King’s Carrie to the big screen (although The Fury is a bit more proto-Firestarter than Carrie knock-off, if we’re sticking with the King comparisons).
Daily Horror History, July 25th: Happy Maximum Overdrive Day (And Birthday to Mike from The Blair Witch Project)
Stephen King’s directorial debut turned out to be his directorial swan song. Maximum Overdrive, released twenty-two years ago today, is based on King’s short story “Trucks,” in which the motorized vehicles of the world spontaneously become self-aware and hostile toward humans. The short-story is more dour and ends with an impractical apocalypse in which the vehicles have enslaved humankind, forcing the survivors to pump gas, a power dynamic that the narrator believes could last until the vehicles rust over and fail to run, but could last beyond that if the cars and trucks and motorcycles and even planes somehow coerce humankind to build replacements.
Before he became one of the nation’s most preeminent purveyors of super-wild “alternative concepts”, aka nutty theories, Whitley Strieber wrote a couple of standout horror novels in the midst of the horror paperback and movie boom of the 70’s and 80’s. The first of those novels was adapted into the film Wolfen, which was released on July 24th, 1981. Starring Albert Finney, Diane Venora and Edward James Olmos, Wolfen is a strong adaptation, a stylishly brutal supernatural monster movie that featured something akin to “Predator-vision” five years before The Predator came to be. Between Wolfen, The Howling and An American Werewolf in London, 1981 is almost indisputably cinema’s greatest year for werewolves (or, if you prefer, wolf-god-spirits in the case of Wolfen).
We’re one year short of the 20th anniversary of one of the most misguided movie remakes in history. 1999’s The Haunting had a decent cast in front of the camera, and behind it, the director of Speed (doesn’t suit the material, but hey, great movie!), Twister, (okay, lesser effort, but still… Speed was great, right?) and Speed 2: Cruise Control (farewell, good will, we hardly knew ye). It also had an $80 million budget, which is 27% more than fellow ’99 release The Matrix needed to make people dodge bullets and high-jump across highways and kung-fu fight computer simulations and shit. And you know what, kudos to Hollywood having the faith to give a horror flick–often treated as the unwanted stepchild of genre fiction–a blockbuster budget for once. But–and this is a doozy of a “but”–maybe you shouldn’t reserve the “massive special effects” budget for an adaptation of the quintessential psychological ghost story. There aren’t many tales of supernatural horror that demand expensive CGI less than Shirley Jackson’s The Haunting. Jan de Bont had money to blow on this one, however, so he fed audiences computer generated bronze cherubs, blood-vomiting statues, and a climactic showdown with a video-game villain that looks better suited to the ending of The Mummy Returns.
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.