JOHN CARPENTER'S HALLOWEEN (1978) - 31 DAYS OF TERROR

DAY 31 

A fitting end to the final day of our countdown: "John Carpenter's Halloween." A film that is largely unexplained, dark, and immensely scary. The film tells the story of Michael Myers, an escaped patient from a mental ward who is stalking baby sitters for seemingly no reason. Following his first two low budget features ("Dark Star" and the equally incredible "Assault on Precinct 13"), Carpenter honed his craft enough to make "Halloween" look like a multi-million dollar feature film. Shot for $325,000 dollars and filmed over the course of 4 weeks, the film stars Jamie Lee Curtis, Donald Pleasence, and Charles Cyphers.

On Halloween night 1963, little Michael Myers murders his older sister Judith in her upstairs bedroom of their family home in Haddonfield, Illinois. 15 years after being committed to Smith's Grove Sanitorium, Doctor Sam Loomis (Pleasence) witnesses the escape of his patient, Myers (portrayed by both Nick Castle and Tony Moran). Loomis then warns Haddonfield Sheriff Leigh Brackett (Cyphers) that Myers is returning home to kill once more. Meanwhile, we meet Laurie Strode (Curtis) and her friends Annie (credited in this film as Nancy Loomis) and Lynda (P.J. Soles). Laurie is the conservative school girl in her wild and horny group of friends. The trio will eventually meet up later that night as Laurie is babysitting little Tommy Doyle while Annie is across the street with Lindsay Wallace. However, as the night progresses, Myers - who I will refer to as The Shape, get's closer and closer to the unsuspecting girls.

The mask used in the film is actually a Captain Kirk mask spray painted white, with the eye holes cut a bit larger.

"Halloween" night was originally titled "The Babysitter Murders" by Carpenter when the film was being written. It was producer Irwin Yablans who suggested setting the film on Halloween night and changing the title to "Halloween."The film's setting is a perfect plot to device for our characters to think The Shape is just another student from their high school in a mask playing a prank on them. Their dismissal of course eventually leads to Myers having the upper hand. The Shape's mask is the perfect symbol of evil. It's so clean, pale, and white that the audience can project whatever they're afraid of onto it. Beneath the mask could be anything. The devil, a monster, or just a man. Also, it's eerie shade of white stands out against Dean Cundey's darkly lit sets, popping out against the backgrounds like one of those dead lights that Penny Wise the clown talked about in "It."

Jamie Lee Curtis in her debut gives the film a sense of legitimacy, being the daughter of legendary actress Janet Leigh, who played Marion Crane in Hitchcock's "Psycho." This film is filled with homages to the classic horror films from the Hammer company across the pond. Hell, even Donald Pleasence is in it as The Shape's doctor, Loomis. A lot of the films urgency and terror comes as a result of Loomis' dialogue, talking about Myers as nothing but pure evil. Behind his two dark eyes, is nothing, according to him. No reason, no mind, just pure evil. That is the only real explanation that Carpenter gives us as to why The Shape is stalking these girls. He IS the Boogeyman and is alive only to strike feat into the hearts of those unfortunate enough to cross his path. Charles Cyphers provides an awesome foil to the seriousness of Loomis' character. Carpenter balanced out the film perfectly. We have loose, sleazy, and fun characters like Lynda and Annie, but Laurie holds the other side of the film down. We see this throughout "Halloween."

Jamie Lee Curtis in her debut role as "Laurie Strode" in "John Carpenter's Halloween."

After you watch the picture, John Carpenter's eerie minimalistic score will stay with you long after the credits role. The score perfectly captures the simplistic essence of the film and then embodies it in 5/4 meter. The majority of popular music is in a double meter (think of a rock back beat where you can clap on 2 & 4 easily), but Carpenter's score is in a bizarre meter that feels like something isn't quite right, which they're certainly not for our characters. Most interesting is the film's third act in which Laurie finally needs to defend herself from The Shape. Yes, surprise, there's a final confrontation between our villain and heroine. Instead of Laurie cowering in a corner, she actually gets to fight back against Myers. "Halloween" does not demean women in any way. We're seeing teenagers, but the type of teenagers we're seeing are not the 80's screwball, raunchy comedy characters.

John Carpenter is an absolute master. By the time he made this film, he had come into his own as a mature, masterful, and excellent filmmaker. He toys with his audience by denying them information, then creates characters that can seemingly go at any moment on screen. His point of view shots through The Shape's eyes force the audience to be a part of his world. The breathing we hear during a montage in the film tells us that he's out there, hiding in the dark. He could be anywhere. He could be anyone, after all, Carpenter didn't give us a monster, clown, or animal mask to fear. Instead Michael Myers wears the ambiguous pale face of a man.

10/10

Rated R
Directed by John Carpenter
Written by John Carpenter and Debra Hill
Runtime - 91 minutes
Suggested edition: 35th Anniversary Blu-Ray release from Anchor Bay or the 25th Anniversary Divimax Edition for it's excellent bonus features.
7.9 of 10 stars on IMDb
94% on Rotten Tomatoes

JOHN CARPENTER'S THE THING (1982) - 31 DAYS OF TERROR

DAY 30

Of all of the films featured over the last month, "John Carpenter's The Thing" has a special place in my heart. It is not only one of the best all around films featured on the 31 Days of Terror, but just one of the best, period. It's a film that is dark, bleak, daring, unforgiving, and brilliantly written. Upon release, the film was passed off as another piece of sci-fi trash, Carpenter being called a pornographer of violence. However, "The Thing" is far from it.

The film finds a team of scientists at an American Antarctic research station who involuntarily become involved in a chase for an Alaskan malamute. The dog is being pursued by two Norwegian men who become killed in their attempts to catch the dog. R.J. MacReady (Kurt Russell), the camp pilot, and Copper (Richard Dysart), the camp's doctor, head over to the Norwegian outpost to find out what happened to them. Upon discovering it, they see it is badly burned. A bizarre pseudo-human corpse lays outside. Upon further research from data at the Norwegian camp, MacReady and Norris (Charles Hallahan playing the camp's geologist), discover a flying saucer buried in the ice. Based on the Norris' estimate, the ship's been buried there for about 100,000 years.  Back at the camp, the dog is kenneled along with other malamutes by Clark (Richard Masur) who is overly protective of the dogs. But upon interacting with the other animals, it transforms into a bizarre creature with tentacles, legs, and a bunch weird goo dripping from it. Blair (Wilford Brimley) performs tests and discovers that this bizarre creature is in fact eating and imitating the bodies of the life forms it consumes. The creature had been frozen in the ice for hundreds of thousands of years, only to be re-awoken by the Norwegian scientists. Now, Blair calculates that within a couple of months, should the creature get into a populated area, the entire world population would be consumed.

Kurt Russell as pilot R.J. MacReady in "John Carpenter's The Thing."

The script for the film was written by Bill Lancaster and is an adaptation of Who Goes There? a novel by John W. Campbell, Jr. Many confuse the picture to be a remake of Howard Hawkes' "The Thing From Another World", based on the same story, but the film is in fact a re-adaptation of the above mentioned novel. The script is air tight and confusing. For once, this is a good thing. The audience is never supposed to know who has been imitated and who has not. I have my own theories based on the film (to me, the shadow against the wall when the malamute is browsing the camp looks a lot like Norris). Another element of the film that was further brought out by Carpenter is its absolutely bleak view on the events happening on screen. Part of the suspense of the picture and experience viewing it was that when the characters have the drop on the creature, it never seems to work out the way I wanted it to. As the film progresses, the load on the audience becomes more and more immense as our characters have to try more and more desperately to stay alive and not be left alone with one other for they might be the thing.

Kurt Russell is stunning as MacReady. Compared to his later (and completely different) Carpenter roles, it's a marvel to watch such a talented actor on screen. His performance is always cool and calm, but never too calm. Also, I don't know if anyone else noticed this, but to me MacReady is a hair more and more on edge as the film progresses. He's obviously very level headed, being that he is the one who often has to wrangle the team together and tell everyone to calm down, but always with a sense that MacReady could snap at any moment. After a while deep into the film, my brain switched off the fact that I was watching actors on screen and I was completely absorbed into the film. Keith David is so perfect in his role that it blows my mind Carpenter that this character exists only for the purposes of this film. What I mean is that every character is rich and never feels forced or "acted." Having so many actors in one film, trapped in one place certainly makes for an interesting two hours that feel like at any time, anything can happen. Characters you expect to stay completely insane go nuts by the end of the film, people are not who they say they are, and the very humanity (literally being human) of one of the film's main characters is questioned at a point when the audience is certain that they are who they say they are.

Believe it or not, the film gets even more terrifying than a space spider coming out of someone's head.

A large part of the film's great look is thanks to Dean Cundey's masterful cinematography and lighting. Tom Atkins (star of several other Carpetner films) has called Cundey the "Master of Darkness" because of this ability to get the most interesting looking shots on screen with virtually no light when being shot. Cundey gives the arctic a rich blue hue that is then interrupted whenever we see fire on screen. Lens flares also permeate the frame from time to time, giving the film a bizarre timeless quality. Ennio Morricone's score is very minimalistic in nature in that we don't hear any melodies or things of the sort, except for the very opening cue, which is one big crescendo of sound (this cue was actually written by John Carpenter with the assistance of frequent collaborator Alan Howarth), is heard again when MacReady and Nauls (T.K. Carter) investigate a bizarre occurrence in MacReady's shack.

This movie is perfect. I do not have a single negative thing to add to this review other than reading about it will not do you any justice. The third act of the film is bleak. And for once, I'm okay with it. The film's emotional questions are never really answered. Who exactly becomes the thing at what time is very ambiguous. Carpenter sold me to the fact that this film is never about hope or defeating the thing. It's about staying alive for as long as one can. To hold out and hold on to what threads of life are attached to us for whatever short amount of time we're alive.

10/10

Rated R
Directed by John Carpenter
Written by Bill Lancaster
Based on the book by John W. Campbell, Jr.
Suggested edition: Official Blu-Ray release
8.1 stars of 10 on IMDb
79% on Rotten Tomatoes

THE EXORCIST (1973) - 31 DAYS OF TERROR

DAY 29

We've seen the devil appear in various forms throughout this countdown, but none is as frightening as the interpretation of Satan in William Friedkin's "The Exorcist." This is one of those films that you weren't supposed to watch as a little kid, but we did anyway. Was this a good decision? That would depend on the person. I know someone who is absolutely traumatized by this film and can't even stand to so much as have it come up in conversation. It's that bad. But is "The Exorcist" really that terrifying of a movie? Yes it is, in every way imaginable. Friedkin presents us with a tale that is merciless, unrelenting, and every bit as terrifying as the title would suggest.

The film follows Regan MacNeill (Linda Blair) and her mother Chris (Ellen Burstyn), as strange occurrences begin to follow her day to day at their home in Georgetown, Washington D.C. Strange sounds are heard coming from the attic, Regan complains of her bed shaking, and across town, a Madonna is vandalized at a local church. Father Merrin (Max Von Sydow), a Catholic Priest on an excavation in Iraq discovers a small statue resembling the statue of a demon he defeated long ago called Pazuzu. He believes that it will return in some form. The shape it takes on is that of Regan, after she'd been communicating with someone named Captain Howdy through a Ouija board. Chris, an actress filming a movie in Georgetown, passes a seminary everyday and often sees a young priest, Damian Karris (Jason Miller). After dealing with the death of his mother, Karris has lost his faith in God. As Regan's mother becomes more and more concerned over her daughter's strange behavior, she finally takes action consulting medical doctors after seeing her bed shaking one night after a party. The doctors tell her that the solution she is seeking, is not one of medical science, but the ancient religious ritual of exorcising any sort of presence from one's body.

I don't want to ruin anything for anybody, but the characters realize that there's something terribly wrong with this girl in this scene.

How would anyone react in that situation? Even though Chris has shown Regan no religious beliefs, she spends the entire fame shouting religious profanities and taking the name of Jesus and God in vain, if you believe in that sort of thing. The first two acts of the film are her's, making her character her own and spending the time creating enough material and spouting enough dialogue to make you lover her or hate her. She is an actress and has a very social life. The party sequence in the film is the moment when Friedkin tells us that the issue plaguing Regan can no longer be ignored and it has invaded her life. Also, it's a chilling scene in which Linda Blair shows her stuff too. The charming, funny, and silly little girl we meet at the beginning of the film is completely gone. Blair has a blank face, monotoned voice, and a stare that goes straight through the camera.

I however would like to think that this film is not in fact about Regan and Chris, but instead is about Father Karris. We meet him at a point in his life in which his faith is hanging on to him by a thread and that then it is finally severed. During this trying time, he must fight the battle to end all battles. Jason Miller provides the priest with great youth and sense of direction, even though the character is lost. More often than not, I thought his character was far more interesting than the MacNeills. Karris gave me the perspective of an outsider looking in. He himself doubted the need for an exorcism and questioned the process, a fact which the audience knows in not true - the girl is possessed (after all, there wouldn't be a movie if she was imagining the whole thing).

Merrin (Max Von Sydow) begins the exorcism on Regan (Linda Blair).

Father Merrin is the great last hope. Von Sydow has an eerie vibe about him that makes my skin crawl, no matter what film I may see him in. His low spoken dialogue and weariness about everything made me feel like there really was no hope for this girl. He arrives to help her but finds himself powerless, having to band together with Karris, as does the audience. Our only hope to come out of this movie unharmed are these two men. Friedkin does something that very few directors can accomplish. During the exorcism sequence, he doesn't hold back, taking the audience hostage. Very rarely can I say that a filmmaker is dangerous and when I do, people are somewhat confused by the statement. I need only to point to this scene as an example of a filmmaker being absolutely relentless and terrifying. Well done, Mr. Friedkin. The makeup effects on this film are superb. The work was dine my Dick Smith, legendary effects man who worked on the film with fellow artist Rick Baker, who would later go on to become a legend as well. The combination of terrifying makeup effects and practical illusions add to the horror on the actors faces.

To clarify, this review is for the original theatrical cut of the film, which isn't features a different ending and alternate scenes than on the extended director's cut (which in my opinion, is just a bit better). William Friedkin's powerful direction, a powerhouse performance by Jason Miller and Linda Blair, and terrifying makeup effects by Dick Smith make "The Exorcist" an unforgettable film. It's one of those that scared the crap out of us when we were children, but we felt compelled to watch anyways because the damn thing is so terrifying. If you say that this movie doesn't scare you in the least bit, you're flat out lying.

8.5/10 

Rated R
Directed by William Friedkin
Written by William Peter Blatty
Based on the book by William Peter Blatty
Suggested edition: 40th Anniversary Blu-Ray featuring the original theatrical cut & the extended director's cut
8.0 of 10 stars on IMDb
87% on Rotten Tomatoes

SUSPIRIA (1977) - 31 DAYS OF TERROR

DAY 28

"Witch!", exclaims the vocal of Claudio Simonetti, one of the keyboard players in Goblin, the legendary progressive rock band that scored many of Italian Giallo director Dario Argento's films. Massimo Morante's guitar licks drive the hell out what we're seeing on screen: flashing lights, bright stained glass windows, and flowing downpours of violence. Witches? Violence? That can only mean one thing: Dario Argento's 1977 masterpiece, "Suspiria", starring Jessica Harper, Stefania Casini, and Joan Bennett in her final performance.

Suzy Bannion (Harper) arrives at a Dance Academy in Freidburg, Germany late at night in time to witness Pat Hingle (Eva Axén) running out in terror from the school. The next morning it is revealed that she had been expelled from the school for misconduct, yet nobody could figure out why she fled. The girl's friend Sarah, befriends Suzy, a new student coming from New York. Mysterious deaths surrounding the school begin to become more common. Bannion grows ill and the heads of the school Madame Blanc (Bennett) and Miss Tanner (Alida Valli) are of no help. When Suzy grows ill, she is put on a strict diet by the school's consulting physician. As things begin to grow more strange, Sarah realizes that Pat might have been on to something involving a coven of witches and black magic surrounding the school.

Pat Hingle (Eva Axén) barely manages to escape with her life from a mysterious force.

Dario Argento brilliantly makes this film terrifying through the usage of color and camera angles. The scene in which Suzy meets with an expert on witches and black magic films Professor Milius (Rudolf Schündler) from down low, leaving him to the right of the screen. Another excellent use of the entire frame is the scene in which Sarah is being pursued and she has to jump a small distance. Here, Argento plays a trick on us, making the audience think that she only has to jump a short distance across what appears to be some material covering the floor. This is an extremely tense and well done scene and I don't want to spoil it for anybody, but it made my skin crawl. It's the usage of angles like this in "Suspiria" that freak the audience out in addition to the films other elements such as cinematography and score.

Harper gives Suzy a sympathetic edge that many horror pictures now-a-days seem to have forgotten about. From the minute we meet Suzy, she is burdened by misfortune, not being able to hail a cab at the airport and not being able to enter the school right away. There were some scenes in the film in which Harper doesn't have to say much at all, and for once, I thought this was a great thing. Her performance was largely through her facial expressions and sincerity in her eyes. Many times throughout the film, I wished that I could step into the film and give her a hug and tell her that everything would be okay. But that would be an abso-freaking-lutely terrible idea, being that anyone that meets an untimely end in the film dies a horribly violent death.


                                  Jessica Harper as Suzy Bannion in Dario Argento's "Suspiria"


Another staple of Italian Horror pictures is the over-the-top gore and death scenes. After you watch this film, there's a hanging scene that I guarantee you won't be able to erase from your memory for a while. Bright red fake blood also adds on the intensely rich color palette that makes the whole picture seem like we're watching someone's nightmare as opposed to watching characters live out something they're actually experiencing.

The cinematography for the film was done by Luciano Tovoli. Prior to shooting, Dario Argento instructed Tovoli to watch and study the usage of color in "Snow White and the Seven Dwarfs" as that was going to be the model for the film. This movie was one of the last pictures to be developed using the technicolor process, an element which gave such American classics like "Gone with the Wind" and "The Wizard of Oz" their signature bright classic looks. Like I mentioned above, there are many scenes in which regular yellow or white light that you'd get from studio or household lights are foregone for deep reds (no pun intended), fluorescent greens, and icy blues. Not only that, but notice how at times, the doors to the different rooms seem enormous. This adds a subtle detail that at first I did not pick up on, but did feel that something was not right when characters would move through doors. This happened because as originally intended, the film's main characters were all supposed to be young 12 or 13 year old girls, but the production company would never allow a film this violent to involve children as it would probably be banned from being released. Go figure. But my point is, that the film is as visually appealing as it is entertaining.

Argento's usage of light creates beautiful contrast throughout "Suspiria."

The biggest element that struck me about the film however, was the usage of music. The score for the film was composed by Goblin (Claudio Simonetti, Massimo Morante, Fabio Pignatelli, Agostino Marangolo, and an uncredited Maurizio Guarini) and Dario Argento himself. The main theme from the film will stay with you long after you've viewed the picture (much like the hanging sequence). It's chilling, memorable, and effective. The score was written prior to the film and then played on set so the actors would be creeped out by it. How's that for your character's motivations?

At times, the script by Argento and Daria Nicolodi is weak, not making any sense or being downright stupid, but it's forgivable. This film, fitting in with other modern art, is a piece of visual art. Dario Argento gives us plenty to look at, listen to, and feel. "Suspiria" is a testament that goes to show quality over quantity is best. The characters, for the most part, are rich.  Movies like this make me a little sad because of the way that modern directors are sacrificing many cinematic elements to deliver unrelenting gore or body counts. None of that happens here, as "Suspiria" is definitely one of the best horror films of the 20th century because of it's usage of cinematography, score, acting, and suspense.

8/10

Rated X
Directed by Dario Argento
Written by Dario Argento & Daria Nicolodi
Runtime - 92 minutes
7.4 of 10 stars on IMDb
95% on Rotten Tomatoes

CHILD'S PLAY (1988) - 31 DAYS OF TERROR

DAY 27

I believe this one is a favorite among my age group, also a film I hadn't watched since I was a little kid. I had forgotten how absolutely weird this film is! Voodoo, talking dolls, serial killers, and movie detectives that don't buy into anything (what a surprise). "Child's Play" features a cast that gives the film a weird pseudo-soap opera and melodramatic feel that makes it one of the more memorable picks for the 31 Days.

Karen Barclay (played by Lorraine Gary impersonator Catherine Hicks) buys a Good Guy doll for her son Andy (Alex Vincent). The dolls are the holiday season's hot new toy and Andy has been itching to get one. Karen buys it from a "peddler" in the alley behind her work (because that's always a good idea) but then starts experiencing strange phenomenon such as Andy talking a little too much to the doll, an accident involving her friend Maggie, and later in the film, a connection to Charles Lee Ray (played by Brad Dourif), a serial killer known as the "Lake Shore Strangler."Detective Mike Norris smells something funny and begins to investigate and keep an eye on the Barclays. Soon, Andy begins to tell Karen that the doll can speak and is alive. There's no way a doll could be alive, right?

What child wouldn't want this toy?

WRONG! Corny right? Very. The big reveal in which Chucky, the name of the Good Guy doll, reveals himself is hilarious. But it's sort of supposed to be. A big issue with the film that I had is that it teeters between winking at the audience and trying to play itself seriously. A movie like this should never try to be serious, the concept is just too ridiculous. Making it even more over-the-top is the voice work of Brad Dourif. Screaming, shouting, obscenities are all part of his tactics to shock, scare, and terrify the audience.

However a large part of what makes the film work is the performance of the young Alex Vincent as Andy. It is his performance that makes the film interesting to watch. Also, the killer doll effects. What I've been trying to say thus far, is that this is what a terrible movie is like when it's very well made. The concept is extremely corny, yes, but things like Dourif and Vincent's performance keep us interested. The above mentioned scene in which the doll reveals himself to be alive is so good. Catherine Hicks is excellent when she has to scream and shout at the doll. And how did Charles Lee Ray attach his soul to the Good Guy doll? Voodoo! That's right. Yet another element that makes this movie weirder than anything else on the countdown (maybe except "Halloween III: Season of the Witch"). It's also voodoo type witchcraft that will get CLR's soul back out of the doll, but there's a catch to it. That catch makes the third act of the film extremely thrilling and suspenseful.

Keep an ear peeled for Chris Sarandon's voice, the actor who plays Mike Norris in the film. Does he sound like anyone familiar to you (Sarandon voiced Jack Skellington, speaking, in "The Nightmare Before Christmas"). And although the film isn't strictly speaking, funny, it is the best in the series because it plays the material very straight. It channels the feel of old B-Movies from the 50's and 60's. It's a fun time. If I had to program a horror movie marathon, I would definitely pick "Child's Play" for it's interesting story, great performances, memorable villain (I know many people who were traumatized as children by this film), and no holds barred attitude.

6.5/10

Rated R
Directed by Tom Holland
Written by Don Mancini
Runtime - 87 minutes
Suggested edition - Official MGM release on Blu Ray
6.4 of 10 stars on IMDb
66% on Rotten Tomatoes

PSYCHO (1960) - 31 DAYS OF TERROR

DAY 26

Very few directors knew how to play an audience like Alfred Hitchcock. The best example is in his masterpiece of suspense, "North by Northwest." Cary Grant (after being pursued by spies thinking he's someone else) is waiting to meet with someone on a remote road at a bus stop. A man comes up to him and they both watch a bi-plane crop-dusting the corn that is seen all around them. The second man turns to Cary Grant and says, "That's funny. That plane's dusting crops where there ain't no crops." Click, start your stopwatches, ladies and gentlemen. Hitchcock stretches moments of suspense in this film into long, tedious, and perfectly crafted scenes. For his follow up, an adaptation of the Robert Bloch novel "Psycho", he tried a different approach.

Because I am trying to avoid spoilers, I will not summarize the plot of this film, other than providing a brief synopsis. The story revolves around Marion Crane's theft of $40,000, a hotel run by Norman Bates, and her relationship with a divorcee named Sam Loomis. Marion steals money from her employer, a real estate agent who just closed a deal on a purchase. Crane decides to steal the money and make a run for it, flirting the possibility of a new life with Sam. Interestingly enough, the two main protagonists of the Psycho story paint a picture of who they are, before really revealing anything about themselves.

Janet Leigh as Marion Crane in "Psycho."

The role of Marion is exquisitely played by Leigh, painting a portrait of a woman who is desperate to get what she wants, but is unsure of it the entire time. The narrations she hears in her head tell us what she thinks is going to happen or what she'd like to happen in the world she's just left. To me, there are only two moments in the film in which Marion is certain of herself: They're the scenes the beginning of the film and about half way through when she is done having dinner with Norman Bates (Anthony Perkins). Crane decides exactly what she's going to do with the money and then follows a symbolic cleansing. Again, I'm trying to avoid spoilers for those who have not seen it. The rest of the film, like I said above, she's extremely unsure, having come into this money. Then meets Norman, a young man who thinks he's set exactly on what he wants, but realizes that she's trapped, because of him.

Norman lives in a home above the Bates Motel, up on a hill overlooking the facility. He says that he lives with his mother, taking care of her because she's ill. Anthony Perkins' painting, is one of certainty (a juxtaposition to Marion who is very uncertain). All this is before he talks about his mother, Norma. Perkins is a young man trapped. The scene in the motel office parlor in which he's talking to Marion after his mother wouldn't allow the pair to have dinner in the Bates' home is chilling because even though Norman is disrespected by his mother and he's okay with that. Perkins is so straight and convincing as Norman Bates that I forgot I was watching actors on screen. I held on to his every word, every sentence as if were an important direction I had to follow. Very rarely do performances like that occur and Hitchcock was right on the money to have young Perkins play Bates.

Norman lives with his mother, Norma Bates atop a hill overlooking the Bates Motel. 

Ol' Hitch, is also at the top of his game here, using the crew from his television series "Alfred Hitchcock Presents" to shoot the film. "Psycho" was shot on a very small and tight budget, something Hollywood was puzzled over, especially after the success that the large budgeted "North by Northwest" had been. Never once does an angle feel out of place or cinematic, in relation to the film. We don't question Hitchcock's choices because they fit the style of the picture so perfectly well. scene in which Norman carries his mother from her bedroom upstairs down to the fruit cellar is shot from above, looking down as if the audience's eyes were directly on the ceiling give us the omniscient view and symbolism that the audience is seeing everything, yet seeing nothing. Although we are hearing Norman and his mother speak, something which the other characters in the film are not, we can't see them because of this obstruction in our field of view.

Another fascinating aspect of the film that I picked up on this time around is the way Hitchock has extremely important moments in the film connected to food. At the beginning of the film, Sam and Marion had just finished a steamy affair in a two-bit hotel room when Sam points out that she didn't even finish her lunch. Marion is uncertain in the next couple of minutes in the film. Marion then goes on to have dinner in the parlor of the Bates Motel and is then has a better understanding of what she must do after her conversation with Norman. Later, Norman is seen eating a bag of candy and he is then questioned, uncertain of what to say or how to act. Very sly there, Mr. Hitchcock.

I can't praise "Psycho" enough. It has stood the test of time even though it was made 53 years ago. It taps into the very things that make us nervous, like many of Hitchcock's films do: death in a familiar and comfortable environment, food, voyeurism, and the usage of music to tell another half of the story (a rule which Hitchcock loved to break). Bernard Herrmann's score for the film works just as well without it as it does with it. The three note melody for Norman Bates lets the audience know that we're dealing with a young man who isn't in a normal relationship with his mother. What's going on? It all lies in Herrmann's music. The drama begins instantly with furious strings and patterns of lines traveling across the opening credits. I can think of only a handful of films that I can describe as perfect and "Psycho" is damn near close except for a few things. In the third act of the film, when Norman runs out of the motel parlor, he briefly pauses then looks back in a very melodramatic and soap opera-like fashion (also, half of the events in the third act could have been avoided had he just locked the doors to his home in the motel). Watch this film when you have time to really sit and pay attention to it, not because the story is complicated, it's far from that. But to appreciate the sheer beauty and mastery of "Psycho." A film that is so good, it's picked apart at the seem of every element to discover hidden symbolism and new details not noticed before. They sure don't make movies like this anymore

9.5/10

Rated R
Directed by Alfred Hitchcock
Written by Joseph Stefano
Based on the novel by Robert Bloch
Runtime - 109 minutes
Suggested edition: If you can afford it, "Psycho" is included in the Alfred Hitchcock: Masterpiece Collection, a box set I highly recommend. If not the standard Universal DVD is available for $8.99 on Amazon.
8.6 of 10 stars on IMDb
96% on Rotten Tomatoes

THE SHINING (1980) - 31 DAYS OF TERROR

DAY 25

Stanley Kubrick's adaptation of "The Shining" is a film that I really really want to like. It's a highly regarded classic as well as a staple of American cinema, ironically enough, made by one of the finest filmmakers the world has ever seen. However it's disastrous third act, laughable acting by Shelley Duvall, and Jack Nicholson's not so subtle performance make this an unforgivable film which goes to show that because it's a classic doesn't mean that it's good.

Jack Torrance (Jack Nicholson) has taken on a job for the winter as the caretaker of The Overlook Hotel, 25 miles away from the small town of Sidewinder, Colorado. The hotel is extremely isolated and gets snowed in every winter, requiring a caretaker to do daily maintenance and repairs so that the elements don't get a foothold on the location when it shuts down from October until May of the following year. His wife and son Wendy (Shelley Duvall) and Danny (Danny Lloyd) come along. It is revealed that Jack had a history with alcoholism but has been 5 months sober after accidentally dislocating Danny's shoulder one night in a drunken rage. When they arrive at the Overlook, they are introduced to Dick Halloran (Scatman Crothers), who reveals to Danny that he has a special sort of psychic communication with people who also share the same ability. Halloran calls it "shining." But as Torrance and his family get deeper and deeper into isolation during the winter, he begins to slip into a more and more unstable state. Also, the Overlook begins to show its tenants that is a cold, cruel, and unforgiving place with a dark history.

My first problem with the film is the fact that I read Stephen King's excellent novel before seeing the movie. What King put down on paper is so terrifying and scary in my imagination that there was no way any director could live up to that expectation. Certainly enough, this was true. Nicholson's performance in the film tips us off right from the very beginning that something is not right with this man. It never seemed like he cared for Danny in the way that Wendy did, to me at least. Once scene has Stuart Ullman, manager of the Overlook showing the Torrances the apartment they will be living in for the winter. "Perfect for  a child" is Jack's response when he's shown the room Danny will sleep in. He never really seemed like he had a personal connection. The book and film do tell the same story, but the message of that story is so much more blatantly obvious in the film, which isn't a good thing.

How could anyone with a face like this be crazy?

Another big complaint that I have is Shelley Duvall. She's so laughably terrible in this film as Wendy Torrance. Never once could I take her performance seriously. Although it sounded like she read her lines just before every scene, her performance was pretty damn consistent. She always had that weird chipper attitude about her, even when things were going to hell. In the third act, the way she was waving her arms around when she was running through the hotel was terrible.

Speaking of which, the third act had me scratching my head over Kubrick's creative choices, such as Wendy's waving arms and running around with the knife she was holding like Steve Carell wielding the hand grenade in "Anchorman: The Legend of Ron Burgundy", the not so scary Jack Nicholson performance (because I already knew he was crazy right from the start and I didn't care for him very much anyway because he seemed so unrealistic and fake), and the waste of the best actor in the whole film, Scatman Crothers is wasted to the point of pissing me off beyond all liking of this film. There I said it. The Halloran character in the novel was so rich and important in the story's third act. For the film, he is simply cast aside, which is a damn shame because Crothers provides the best and most genuine performance in the entire film!


Don't you hate it when you're trying to grab the elevator quickly and thousands of gallons of blood come spilling out at you when the doors open?

However, it isn't all bad. I must say that upon re-watching this film, I enjoyed everything up to when the family begins to live at the Overlook. The interview sequence at the very beginning is charismatic due to Nicholson's weird mannerisms (however they ruin the character for the rest of the film if that makes any sense) and the scenes between Danny Lloyd and Crothers are some of the best in the entire movie. The electronic score by Wendy Carlos and Rachel Elkind is exactly what I love to hear in these types of films (what little original score this film has owes lots to John Carpenter). Loud and scary synths as well as effective usage of classical music, such as the moody and eerie piece Music for string, percussion and Celesta by Bella Bartok.

Overall, Stanley Kubrick delivers a pretty solid film that has stood the test of time and takes it's place among the ranks of horror classics such I've reviewed on my blog for the month of October such as "The Omen", "Carrie", "Dawn of the Dead", and "Rosemary's Baby." However, I think all of those listed are far better, more effective, and well acted films than "The Shining." Because I had read the book first, then watched the film, there was no way that the script could compare to King's excellent exposition, writing, and style. But don't blame me. Stephen King himself has said that he isn't a fan of this picture.

5/10

Rated R
Directed by Stanley Kubrick
Adapted/Screenplay by Stanley Kubrick & Diane Johnson
Based on the novel by Stephen King
Runtime - 146 minutes
Suggested edition: Kubrick Triple feature on Blu Ray; also includes "2001" and "A Clockwork Orange" or individual DVD release for $3.99 on amazon
8.5 of 10 stars on IMDb
92% on Rotten Tomatoes

THE OMEN (1976) - 31 DAYS OF TERROR

DAY 24

I must admit right off of the bat that this review is a little biased. "The Omen" is one of the scariest films ever made just because everything about it so brilliant. The direction by Richard Donner to the very notes of the score by legendary Hollywood Maestro Jerry Goldsmith, and the editing by Stuart Baird, it all works. I'm going to go ahead and say that Gregory Peck delivers one of the finest performances of his career and completely sells an otherwise ridiculous story about the Devil's next of kin.

A child dies during birth, but another who'd lost it's mother during birth but lived, are united in a hospital in Rome, late one night in 1970. The mother, Mrs. Katherine Thorn (Lee Remick) is not told. Her husband, US Ambassador to the UK Mr. Robert Thorne (Gregory Peck), could never break her heart in that way. One child dies, so that another may have an opportunity to lead a normal life. But bizarre occurrences begin to happen the child, Damien, turns 6. People begin to die, his behavior is a little weird, throwing a fit when he gets near a church. Father Brennan (Patrick Troughton) comes to Thorne with a warning to accept Christ because he and his wife are in danger and that his child may not be entirely human. Mrs. Baylock (Billie Whitelaw) arrives and says she was sent by the agency to be the Thorne's new nanny. She brings with her a menacing black German Shepard dog. Soon a photographer by the name of Jennings (David Warner) shows Robert strange photographs he's snapped around Damien. Soon, the pair travel to Rome to investigate the child's mysterious origins, believing that Damien Thorne may be the son of the Devil: The Anti - Christ.

Little kids in suits are scary.

Gregory Peck does wonders for the role that any actor simply could not. When the film went into production at 20th Century Fox, Alan Ladd Jr., the head of the studio, wanted Donner to attach a name to the film so that it could be a box office draw, despite its dark subject matter. Peck bring serious gravitas, charm, and sadness to the role. He is a man who has everything and yet slowly begins to have it stripped away by his seemingly harmless 6 year old son. The terror in his eyes is disturbing and the urgency in his voice as he begins to lose a sense of what is right or wrong about his son is unnerving. There is a powerful scene in the film in which Peck receives a shattering phone call. The dialogue that the delivers as Thorne is beautiful, pulling the audience in and losing any sense that we're watching actors on the screen.

Unlike yesterday's pick (read my review for "Resident Evil" here), "The Omen" delivers the message that we will be watching a straight forward horror picture from the very opening titles of the film. Set to latin text, Jerry Goldsmith composed a score for orchestra and choir. His love theme at the beginning of the film, featuring young Damien tells the story of a young family in love. It is so sentimental and bright that we forget that we're watching a horror picture. There is love for the child. Later in the film, Goldsmith varies the theme and it goes from being a lovely melody of romance, to a dark and desolate shell of what it once was. However, the cue that really kicks you in the head and never lets you go is "Ave Satani", Goldsmith's take on Ave Maria if it were turned around and used to, as the title says, hail satan. The music managed to get Goldsmith the only Oscar of his career and is a testament to how powerful a film score can be. I honestly believe that without the score, the film would not have worked. That's right, I will repeat that. Without Jerry Goldsmith's fantastically dark, atmospheric, and gothic score, "The Omen" would not have been as good of a film.

Thorne and Jennings attempt to find out the mystery behind Damien's origins in "The Omen."

The script by David Seltzer is solid. Richard Donner mentions in the bonus content on the Special Edition DVD release of the film, that he believes Gregory Peck's character has gone insane and that's what drives him to his actions in the third act of the film, which I will avoid spoiling for those who have not seen it. It's an interesting notion that I had not given much thought to for the idea that I was entirely sold on the movie's plot. That's how good Seltzer's script is. It does not give us an entire massive load of horror at once, but slowly begins to build and build right up until the scene in which Robert and Jennings leave Bugenhagen's (Leo McKern) home in Rome, when investigating the mysterious origins of the orphaned Damien.

This is a movie that doesn't feature a lot of action, but rather dialogue. It is an intriguing story that pulls us in from the beginning and does not let us go and as the story becomes more intense, so does the sense of drama played by our actors. Lee Remick grows more fearful of her own child and the mysterious Mrs. Baylock. What is she trying to hide? And the child himself, Damien, is creepier than hell. This movie taught me that if I ever had a little boy, I'm definitely not dressing him up in a suit. The fact that Robert Thorne is the US Ambassador the UK also means that the boy now has a means to the world of politics. After a grim scene involving Remick, Damien sits back and smiles. Creepy... Little kids are scary.

One final thing I'd like to mention about the film is the insane level of suspense that Richard Donner creates using the right camera angles, music, and sound effects. There is an incredible cat and mouse game that happens when Gregory Peck is trying to get past Mrs. Baylock's dog. The music in this scene is incredibly scary. An choir of tens of musicians is merely whispering and chanting as softly as possible, paired with the image on screen, I felt the incredible sense that Donner was telling us that the movie we're watching is dangerous, not to us physically, but to our senses. Anything could happen at anytime and for that reason, "The Omen" remains one of my favorite films ever. Not just from the horror genre, but across all movies I've ever seen.

8/10

Rated R
Directed by Richard Donner
Written by David Seltzer
Runtime - 111 minutes
Suggested Edition: Special edition DVD only $5.92 on amazon
7.6 of 10 stars on IMDb
85% on Rotten Tomatoes

RESIDENT EVIL (2002) - 31 DAYS OF TERROR

DAY 23

The problem with "Resident Evil" is that it is not a horror movie. It is an action movie with horror elements. At it's best, it's a techno - thriller rip off of "Dawn of the Dead"or "Day of the Dead" by George Romero. Both of those films are far superior to this dull, clunky, and confusing film that can't decide whether it's an action film or a horror picture.

Alice (Milla Jovovich) is the only character we give a crap about, because she's the only one who gets any proper story. We follow her from the beginning as she gets captured by a casually dressed police officer Matt (Eric Mabius) and then they are both captured by a special para-military team made of up Rain (Michelle Rodriguez), Kaplan (Martin Crewes), One (Colin Salmon), and JD (Pasquale Aleardi), plus some guy they had with them named Spencer (James Purefoy). Both Alice and Spencer can't remember what they were doing before the event, suffering from what One says is a defense mechanism triggered by The Red Queen, an artificial intelligence that cares over The Hive, an underground facility run by the Umbrella Corporation. Umbrella created the T - Virus, a highly deadly disease that will reanimate the infected once they die. That's right ZOMBIES! Once the crew's mission, to kill the Red Queen and disable her so they could re-take The Hive, goes to hell, they must deal with all the weird creepy crawly experiments gone wrong and hopefully, make it out alive.

Milla Jovovich as Alice, the most interesting character in "Resident Evil."

This movie does not guarantee a deep, pensive film that will make you think after you see it. This isn't directed by Guillermo del Toro, people, it's Paul W.S. Anderson. In other words, turn off your brain for an hour and forty minutes and savor the carnage. My main complaint about this film is that I never cared about anybody. Why did the military team take Alice and Matt? It sort of makes sense, but it doesn't.

The mansion the two were found in at the opening of the picture is the secondary entrance into The Hive. Michelle Rodriguez plays the same character she always does in every film she's ever been in. And across all decades too! She even exists in the future, with all of her big lipped beauty, kicking ass in James Cameron's "Avatar." One is the biggest Ken Foree, "Dawn of the Dead" Peter rip - off I've ever seen. It's so awful and lame. His character is a cardboard cut out of a military leader and I was happy when his fate was sealed.

Hell, the only character that is any bit interesting is Alice, as I had said. W.S. Anderson tried to do hear what "The Hunger Games" later succeeded at doing and what the "Twilight" pictures failed miserably at: create an interesting, awesome, ass kicking female lead that takes no names. It's so stupid that there aren't more women action stars. They're so much smarter than men and only now in the past few years are we getting, good, and not sexist interpretations. Alice, is a little sexist. What is a horror movie without some nudity?

Those lips will kick your ass.

However "Resident Evil" isn't a horror movie. It's an action movie. But then zombies come out of nowhere and start eating people. So it is a horror movie. Then there are gunshots and a chase involving zombie dogs that were lab experiments. So it's an action horror movie. But then it isn't because of the techno chase score. Interestingly enough, the music was written by horror score Maestro Marco Beltrami and Marilyn Manson. What the hell is going on!?

This movie wears many hats, but doesn't quite pull any of them off. But all the zombies make this a zombie picture, right? Wrong. This isn't a zombie movie. It's an action movie. The picture wants to be a horror movie, but it just doesn't quite work in the way that maybe the filmmakers had hoped. Where a movie like "Dawn of the Dead" is a horror movie with some action sequences, "Evil" is an action movie with horror elements.

Big action sequences, a dull script, killer (no pun intended) action, and a sort of strangely cool female lead make "Evil" a modern action and horror classic. No matter how much it makes me cringe to type that statement, it's true. The film has it's loyal fan base, after all that's why there are 4000 sequels to this film, based on the popular video game series. I wasn't too impressed with this film, thinking of about a dozen other movies you could watch in its place and feel far more satisfied or even peak your cinematic fancy if you're a movie gourmet. However, if you want a good afternoon at home, with friends and maybe some good food, "Resident Evil" isn't too bad a way to go.

5/10

Rated R
Directed by Paul W.S. Anderson
Written by Paul W.S. Anderson
Runtime - 100 minutes
6.6 stars of 10 on IMDb
34% on Rotten Tomatoes

DAWN OF THE DEAD (1978) - 31 DAYS OF TERROR

DAY 22

"Night of the Living Dead" changed everything for the horror genre. After the success of the Universal Monsters, George Romero's zombies got as far away from the romance and gothic horror of "Frankenstein" or "Dracula" as one could. Horror pictues became real, gritty, more frightening and unrelenting. However, a mix up happened. When the film was re-titled to its now famous name, a copyright stamp was discarded from the prints. In order for the film to hold its copyright status, it had to appear on the print in addition to being registered. As a result, the film became public domain and you can download or watch it anywhere on the internet, even youtube. 5 years later in 1974, Romero had the idea for a follow up film. After being shown a room filled with survival supplies above the Monroeville Mall in Pittsburg, Pennsylvania, it occurred to him that if need be, someone could survive up there in case of a disaster. "Dawn of the Dead" blossomed from this seed.

Beginning right in the middle of the chaos of the film, station chopper pilot Steven (David Emgee) and his girlfriend Fran (Gaylen Ross) escape from their posts at a television studio to meet up with Roger (Scott Reiniger) and Peter (Ken Foree), two SWAT team members who barely escaped out of a siege involving zombies and hostiles, alive. Together, they take the TV studio's helicopter and fly straight up with nowhere to go. The world has descended into madness. A mysterious disease of unknown origin that is contracted through a bite is spreading rapidly across the world. The quartet eventually come across an abandoned shopping mall and discover that there is a room inside the mall that is filled with cans of food and medical supplies. Fran reveals that she's pregnant. There's no telling when things will get better or if there is any sort of structured society left beyond the walls of the mall.

From the left: Gaylen Ross as Francine, David Emgee as Steven, Ken Foree as Peter, and Scott Reiniger as Roger in George A. Romer's "Dawn of the Dead."

Even though this film takes place and was released 10 years after the events of "Night", "Dawn" feels like a natural continuation of the previous film. The opening of the picture in the television studio is disorienting, confusing, and chaotic. The audience only receives limited information from the guest on the talk show that is being interviewed. As Fran struggles to keep things running, Steven tells her that it is no longer their job to operate things there but to survive. Their only chance at survival may be their last they'll ever get.

The introduction of Peter and Roger is also excellent in showing that law enforcement and figures of authority (the military) no longer stand a chance against the living dead. The scene in the projects continues the feeling of confusion, dread, and chaos. The world is a crazy place and now, people have an excuse to pile bodies in the streets. The weak minded go insane, as does one of the men in Roger's SWAT team. The level headed panic and have nowhere to go. Where is safe? The answer is not certain for the length of the entire film. Before the group reaches the mall, they have a close run in with a group of ghouls at a fueling station for the chopper. The scene features one of the best and most creative zombie kills I've ever seen put on film, even compared to today's gruesome gore on TV shows like "The Walking Dead."

Hasta la vista, zombie - Scott Reiniger takes action in the sequel to "Night of the Living Dead."

When the group finally arrives at the mall, the film becomes extremely entertaining. The sequence in which they are trying to secure the is a double edged sword. The group is trying not to get killed while they move semi-trucks parked near - by in front of the entrances and exits. They're trying to keep the people who keep flocking to the mall out: the dead people. The group wonders why the zombies keep returning to the mall. The message here, to me at least, is obvious! We're the zombies, doing our shopping, reading the latest adds for sales, and looking forward to the days of the week in which we get to spend our cash on the clothes and accessories we're dying to own. The only way to stop us (myself included)? Park semi trucks in front of the mall entrances. I don't care so long as there's somewhere I could buy my Coffee Bean tea lattes.

The gore in this picture is top notch, courtesy of the master make up artist Tom Savini, who has a role in the film. State-of-the-art gags include impaling a machete in a zombie's head (illusion created by running the film backwards), exploding heads, gnarly bites, and gunshot wounds to the head. The ghouls in the picture are nothing compared to the ones on television today, they're simply pancaked in gray makeup. Guts used on the set were sometimes specially created for the shoot or actual pig entrails, which sat in the sun all day on one occasion, creating an awful smell on the set when shooting time arrived. The interiors of the film were shot at the Monroeville Mall and had to be done during closing hours when the mall was not busy, then cleaned by 8am the next morning when the mall was used for senior citizens to take walks.

Looks like the new Playstations are out.

The characters in the film are the best part of the entire ordeal. By the end, I cared for all four of them. Gaylen Ross as Francine at times was a typical horror character female who was meant to scream and cower in fear, but that is her character at first glance.  As the film progresses, she refuses to be weak and to be unable to fly the chopper should an emergency occur. It's a fantastic transformation that takes her from the realm of cliche to an outstanding element of the film. However, of the male cast, Scott Reiniger is the most surprising character. The mall changes him and it may not be for the better. However, it's Ken Foree that steals the show as Peter. I'm amazed that Foree didn't have a big career after this film. He's starred in other cult classics like "From Beyond", "The Devil's Rejects", and was Keenan's dad on "Keenan and Kell" (not a cult classic, but worth mentioning, being that I loved the show as a kid).

In the lexicon of modern zombie films, George A. Romero topped his masterpiece of a film "Night of the Living Dead" with its sequel, "Dawn of the Dead". The film is unrelenting, brutal, and excellently told. Being produced by Dario Argento, the film has the look of Italian giallo films like "Suspiria", "Deep Red", "Demons", and "Tenebre." In Europe, the film is known as "Zombi" and also, was edited differently for cinemas. If you can, watch the American theatrical cut of the film, which is available widely on DVD & Blu Ray and included in Anchor Bay's ultimate edition of the film. Fueled by a stunning rock soundtrack by Italian prog rock band Goblin, splattered with Tom Savini's bright red gore, "Dawn" is a film that goes above and beyond the genre and greatly takes its place among other classic horror pictures.

9/10

Rated X
Directed by George A. Romero
Written by George A. Romero
Runtime - 127 minute
Suggested Edition:

• Ultimate Edition on DVD packed with extras and the American, European, and Director's cut of the film
• Single disc DVD

8 stars of 10 on IMDb

95% on Rotten Tomatoes

CLOVERFIELD (2008) - 31 DAYS OF TERROR

DAY 21

On my trips to Santa Monica and the LA area, Cloverfield Blvd would always say hello to me as we I was on my way to wherever I was going. Either the signs for traffic or the street itself. J.J. Abrams would take this street to the offices of Bad Robot Productions everyday and decided to use it as the title for a film he'd always wanted to do, about a giant monster attacking a city. Abrams felt that America needed its own version of Godzilla. The end result of a collaboration between himself, director Matt Reeves, and writer Drew Goddard is the finest example of the found footage genre: "Cloverfield."

The film begins with Rob Hawkins (Michael Stahl - David), a young 20-something big shot who's being thrown a going away party after getting a luxurious promotion in which he needs to move to Japan for. His buddy Hud (T.J. Miller), is glued to the camera documenting the night. During the excitement, a loud explosion is heard coming from the outside. A ship has capsized in the New York harbor. A roar is heard. A large creature has risen from the ocean and made its way into the city. During the events of the party, Rob's ex-girlfriend Beth (Odette Yustman) left the party angry at Rob and his concern is immediately raised. As the monster begins to destroy the city, Rob and his friends must stick together to try and make out of the city alive. However, he has other plans, telling them that he has to find Beth before they get out, realizing that his feeling for her haven't gone away.

What a terrible time to make a beer run

The hype for this film began long before any sort of plot was released. As with every J.J. Abrams production, the plot and everything to do with it was kept tightly under wraps. To hype the event, a trailer was shot to play at the front of the release of the first "Transformers" picture. In a very effective, "Planet of the Apes" style homage, the Statue of Liberty is wrecked. Even though "Cloverfield" was not the first film in the found footage genre, it was the one that brought it back to national attention in the media showing that not only can it be an effective form of storytelling, but that it could be done well under the correct circumstances. The script by Goddard is a beautiful homage to the classic Kaiju films from Japan like the original "Godzilla" pictures and at the same time, keeping the suspense of classic American horror films by using the less is more approach of never really showing the monster.

What's so great about the film though, is that it is not a film about the monster. It's about the people that are caught up in the horror of things. At its heart, it's a story about Rob reconciling with his girlfriend and unfortunately, it took the attack of a giant monster to make him realize that he still loved her. The regret and panic on Stahl - David's face is super projective of all of his emotions. We can tell his is afraid, panicked, and laden with urgency. His friend Hud, who provides all of the comedic relief is never seen. T.J. Miller really sells his role only through his voice. There's an extremely effective sequence in which the group of friends is attacked in a subway. The suspense is almost Hitchcockian in that we slowly find out things are awry before they actually do.

From the left, Jessica Lucas, Lizzy Kaplan, Michael Stahl - David, and TJ Miller in "Cloverfield"

The monster itself completely remains a mystery. We find out only what the characters hear and are told only what they are told. Yet another beautiful thing about the FF genre is that it limits the amount of information the viewer gets, which for many, isn't a good thing. But I personally love the artistic choices that come with the genre. However, it's a risk. The film takes a major risk by never really showing the monster when that's what got so many people to watch the film in the first place. However, it pays off in a big, big way.

One thing that many people miss about this film is the score. Yes, even though it is a found footage picture, frequent Abrams collaborator Michael Giacchino composed a 9 minute suite to play over the end credits of the film titled, ROAR! This, in my opinion is the best part about the film. It works just as effectively with and without the film, because in the first place, there was nothing to score - the film is supposed to be from a mini - DV camera. When the picture ends, sit back and listen to Giacchino's exciting, romantic, and terrifying score for the film.

At 85 minutes, "Cloverfield" packs a mighty punch. To this day, I haven't seen a better found footage film. Again, as a staple of the genre, the ending may leave many unsatisfied, but that greatly depends on the viewer. The acting is solid, script excellent, and the direction by Matt Reeves cleverly hides that there was any direction at all. It's a shame that when the film was released, a large quantity of people were upset that the film was not about the monster itself. If it was, it would be stumbling into Michael Bay territory. Instead of giving us 85 minutes of "destruction porn", Matt Reeves delivered one of the best monster movies of the 21st century.

8/10

ROAR! By Michael Giacchino:

Rated PG-13
Directed by Matt Reeves
Written by Drew Goddard
From an idea by J.J. Abrams
Runtime 85 minutes
Suggested edition: Official blu ray release
7.1 of 10 stars on IMDb
77% on Rotten Tomatoes

CARRIE (1976) - 31 DAYS OF TERROR

DAY 20

With it's bright glowing colors, high school setting, coming of age/puberty overtones, and "don't mess with the weirdest girl in the room attitude", "Carrie" was the film that young director Brian De Palma gave us to remind high schoolers that you can die at your high school prom just as you can anywhere else. Alright, maybe that isn't exactly what he intended, but it sure did make for one hell of a fantastic film.

Carrie White (Sissy Spacek) is a 17 year old high school senior who is timid, silent, and introverted. She's picked on by the popular girls and unnoticed by everyone else. Her mother Margaret (Piper Laurie) is an abusive religious fanatic who is trying to shelter her daughter from the evils of the world and frequently reminds her that all of her misfortunes are the result of God chastising her. In the gym showers at her high school, Carrie begins her first period. Panicking, she seeks out help in the locker room, only to be humiliated and laughed at by all the girls. Her "savior" is Miss Collins (Betty Buckley), the high school gym teacher who punishes all of the people responsible, except for Chris Hargensen (Nancy Allen) who stands up to Collins and as a result, gets banned from the upcoming school prom. Sue (Amy Irving), one of the girls present during the locker room incident, decides to make it up to Carrie (secretly, that is) by convincing her prom date, Tommy Ross (William Katt), to take Carrie out instead. To get back at Carrie, Chris decides to play a prank on her at the prom involving a bucket of pig's blood, obtained by Chris with the aid of her boyfriend Billy (John Travolta). As these events are occurring, Carrie is realizing that something is now different about her, ever since her periods began. She can make things happen with her mind. She blows out fuses, closes doors, and slams mirrors. Her mother Margaret is convinced that she wields the powers of Satan.

Sissy Spacek (left) and Piper Laurie (right) in Brian De Palma's "Carrie"

This movie was deceptive in its first act, because I found to be particularly dull. Nothing really moved with any sort of conviction or steady pace. It's all exposition of course. The highlight is the now infamous locker room tampon scene. Piper Laurie is excellent as Margaret White, shining through the entire film, where as Sissy Spacek begins to come into her own in the scenes in which she is preparing for the prom. Piper Laurie's performance is as every bit disturbing as the film itself and also reminds me of why religious people make me a little bit nervous. Just a little bit.

At the end of the film, when she begins to tell Carrie how giving birth to her was a mistake is an absolutely breathtaking performance. She gets lost completely in her character and gave me chills beyond all belief. I'm not a parent (nor a woman), but I can imagine that after being pregnant for nine months then giving birth, there must be some sort of love for an infant, in most cases. By the end of act II of Carrie, any sort of concern for Carrie from her mother, that may have been there is gone, and it's pretty freaking unnerving.

Sissy Spacek as Carrie White

Brian De Palma's direction of the film reminded me of John Carpenter's style. By this point in time, Capenter had yet to create his striking visual look or make too great an impact on the world of film. Mario Tosi's cinematography made every daytime shot glow, reminding me of Carpenter's legendary Director of Photography Dean Cundey's work on the early JC stuff. The scenes in the movie literally glow and seem as if we were watching one giant and horrific dream. Being filmed during the 70's, the colors are bright and striking, but in this particular film, they're extremely bright. Was De Palma trying to make the film feel like a nightmare? There is one scene in the picture to support that, but to avoid spoilers, I'll avoid talking about it.

The second and third acts of the film really pick up and begin to drive the film forward. As Carrie is getting ready for the prom, so are Billy and Chris, but for a much more sinister reason of course. The audience is also getting ready for whatever DePalma throws our way, which never comes through a jump scare or even cheap scare for that matter. He shows precisely what's going to happen, then slowly builds to it. Particularly during the prom scene. The usage of slow motion, colors, and

I could go on about this film all day. I really enjoyed a different take on the coming of age story, that comes from the dark corners of Stephen King's imagination (the film is based on his book of the same name). Brian DePalma crated an excellent film that shocks, awes, and leaves an impression on you long after it ends. Also, it reaffirms that teenagers sure can be senseless jerks. "Carrie" just goes to show that you should never pick on the quiet ones, because they just might ruin that special night of your senior year of high school.

7.5/10

Directed by Brian De Palma
Written by Lawrence D. Cohen
Based on the novel by Stephen King
Runtime - 98 minutes
Suggested edition: Special edition DVD - $4.99 on Amazon
7.4 stars of 10 on IMDb
92% on Rotten Tomatoes

CONTAGION (2011) - 31 DAYS OF TERROR

DAY 19

To start off this review, I'd like to ask you all to remember the H1N1 scare that occurred a few years back. I was a senior in high school, so I was fully aware of the public reaction happening as the events unfolded. A local school here in my hometown of Oxnard was shut down because of a suspected case. Everyone went bonkers. People were practicing good habits, finally, only after a scare had happened. Never have I seen so much hand sanitizer being used or hands being washed so thoroughly in bathrooms. However, in my mind, I couldn't help but think, was this it? Was this finally the big pandemic that had been so narrowly avoided in the cases of Avian flu and SARS? "Contagion" explores the possibility of what can happen if such a pandemic were to occur.

The picture is a combination of multiple stories, beginning on Day 2 of the viral outbreak, Beth Emhoff  (Gwyneth Paltrow) arrives home from a business trip, terribly ill, and getting worse. Across the world in China, where she had just arrived from, two others seem to be suffering from the same symptoms. When Beth mysteriously dies, her husband, Mitch, (Matt Damon) is left wondering what happened to her. Suddenly, the symptoms begin to spread, person to person. All over the town, then soon, all over the country. Dr. Ellis Cheever (Laurence Fishburne) is heading the investigation at the Center for Disease Control to attempt to pin down and identify this bizarre new illness. Across the country in San Francisco, blogger Alan Krumwiede (Jude Law) is tracking the spread of this mysterious illness on the internet and preaching that this is a way for the pharmaceutical industry to make a buck. Soon, Cheever calls in  Dr. Erin Mears (Kate Winslet), a pandemic specialist to determine the size and scale of what could potentially happen once a projection of how the virus can potentially spread is calculated. Scientists at the CDC Dr. Ally Hextal (Jennifer Ehle) and Dr. David Eisenberg (Dimitri Martin) work around the clock to attempt to isolate a strain of the virus to find a cure. They work as fast as possible, but not before the unidentifiable virus becomes a global pandemic, shutting down the world, and plummeting the world into chaos.

Society collapses in Steven Soderbergh's chilling film "Contagion"

One of the coolest thing about "Contagion" is also its downfall, at least to me it was. The film is directed by the extremely versatile director Steven Soderbergh, who has directed some of the most acclaimed films of recent memory. Naturally, a lot of big actors want to work with such a talent, so this film is cast with big actors in supporting roles. Kate Winslet's Dr. Mears is very much a supporting role and not a lead, where as Matt Damon has a starring role and so does Laurence Fishburne as Cheever.

On the other hand, this doesn't mean that the script is weak, because it's the farthest thing from that. I was just a little put off to see big stars in supporting roles, because it took me completely out of the film to see so many names in one film. And because the actors are so good and well respect, for me at least, there was often times an instantaneous sympathy for them. I was keeping my fingers crossed the entire time that nothing bad would come of Dr. Mears or Cheever.

Kate Winslet as Dr. Erin Mears

I don't know how accurate the science of this film is, but I didn't question it at all. I was sold from the moment that research began on what this mysterious strain of illness was. That also is the most frightening aspect of this film. It feels real, like something that we could actually witness in our lifetime. Shortages of food, military enforcement of major cities and borders, the shutdown of the global economy, and of course, the collapse of society are more frightening than anything else we find in scary movies. "Contagion" is not, strictly speaking, a horror film - but it is extremely frightening. Characters that we grow sympathetic for are killed without mercy and no one is safe.

However, the film's sense of urgency is lost in it's own story. Because of the nature of the virus, a vaccine can't be synthesized easily or quickly. So the amount of death continues without end and the race to find a vaccine isn't much of a race because there is no way to know when it will be found or how it will be made and mass produced. The entire film made me nervous and sparked my curiosity as to which scenarios that happened in the picture would play out in reality if this were to ever happen. One of the more frightening scenes comes deep in the second act when people at a pharmacy begin a riot to attempt to to a synthesized remedy made from forsythia.

The cast is excellent, really making it the highlight of the film. This many big names in one film can do wonders for it as it does in "Contagion." I've watched many horror, suspense, and thriller films, but I can easily say that this is the most terrifying movie I've ever seen. It feels like a documentary as to what can happen should a pandemic spread as it does in the movie. Though the cast took me out quite a bit at the beginning from the picture's story, the realism of Soderbergh's direction made for a truly terrifying 106 minutes. Remember to wash your hands, stay home if you're sick, and most importantly of all, wash your hands. I know already said that, but I can't stress enough how important that is.

8/10

Directed by Steven Soderbergh

Written by Scott Z. Burns

Runtime - 106 minutes

Suggested edition: Official Blu Ray release

6.7 stars of 10 on IMDb

84% on Rotten Tomatoes