The Curse of Eternal Life: Cronos (1993)

CRONOS (1993)

Guillermo del Toro was still in his twenties when he wrote and directed Cronos (1993), a horror movie, yes, but also a movie about time and age and what it means to live forever. One might think 29 too young an age to tackle such subjects but when it comes to horror, in particular, and moviemaking, in general, del Toro could easily be the subject of Count Dracula’s famous response to Van Helsing, “For one who has not lived even a single lifetime, you are a wise man.” Since then, del Toro’s reputation has grown and his movies have become blockbusters at the box office but his first one out might still be my favorite.

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Devil’s Advocate: Rosemary’s Baby (1968)

ROSEMARY'S BABY (1968)

Rosemary’s Baby (1968), which is streaming on The Criterion Channel at FilmStruck throughout the month of March, is rightly hailed as one of the best American horror films of the 1960s. It begins and ends with a mother’s lullaby but the unsettling story of Rosemary and Guy Woodhouse is anything but soothing. Mia Farrow and John Cassavetes star as a young married couple who move into an antiquated apartment building in New York with an unpleasant history. After reluctantly befriending some colorful and intrusive elderly neighbors (Ruth Gordon and Sidney Blackmer), the Woodhouse’s lives are gradually transformed into a Faustian nightmare.

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Every Day Is Like Black Sunday (1960)

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Okay, it may technically be Wednesday, but there’s never a bad day of the week to pay a visit to Black Sunday (1960), the grandmother of Italian horror films. Sure, the country produced a few movies with horrifying or macabre elements, most notably Riccardo Freda’s I Vampiri (1957), but here’s where the magic really kicked into high gear and set the stage for a dazzling wave of phantasmagorical creations that would run well into the 1990s. [...MORE]

A Double Dose of Boris Karloff

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Life has been throwing me lots of curveballs lately and when I’m feeling low, I tend to gravitate towards what I like to call “comfort food films” and my comfort food tends to be classic horror films. During the cold winter months, cozying up on the couch with a warm beverage and a couple of creaky old black and white horror movies can make even the worse week seem manageable. Fortunately, I found exactly what I required streaming on The Criterion Channel of FilmStruck, The Haunted Strangler (1958) and Corridors of Blood (1958). Both of these low-budget British thrillers were directed by Robert Day and feature standout performances from William Henry Pratt aka the one and only Boris Karloff.

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Shake Your Bones with The Living Skeleton (1968)

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Now that another Valentine’s Day has passed, it’s time to focus on other emotions out there… like stark terror! Pretty much impossible for American audiences to see until 2012 apart from its very minimal English-language theatrical release in 1969, the terrific spook show The Living Skeleton (1968) is just the kind of thing to watch late at night when you want a few nice shivers with a rich vein of pulp fun. [...MORE]

Coming of Age with Valerie and Her Week of Wonders (1970)

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I’ve been on something of an Eastern European tear lately with the release of the third (and final, for now) boxed set of “Martin Scorsese Presents” Polish classics, which had a tremendous run in New York and (in more scaled-down fashion) Los Angeles a while back. However, with all the attention Poland has been getting the past couple of years from cinéastes, let’s not forget that Czech films have an astonishing history as well and could easily merit a months-long retrospective. But where to start? If you’re browsing around FilmStruck, I’d like to point in the direction of one obvious and very irresistible candidate streaming on the Criterion Channel: Valerie and Her Week of Wonders (1970), a beguiling supernatural fantasy that also happens to be one of the finest films ever told from a young girl’s point of view. [...MORE]

A Tale of Two Hydes

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Robert Louis Stevenson’s late-19th century novella The Strange Case of Dr. Jekyll and Mr. Hyde has been the inspiration for countless stage, film, radio and television adaptations and inspired works. The first adaptation was Thomas Sullivan’s stage play Dr. Jekyll and Mr. Hyde, which debuted in 1887, a year after the novella’s original publication. This stage version of Stevenson’s story included significant changes to the plot, including the addition of a complicated, romantic relationship between Dr. Jekyll and his well-mannered socialite fiancée. In 1920, Paramount Pictures released their version of Sullivan’s interpretation, a silent film starring the original A-list superstar John Barrymore in the title role. Known for his devastatingly handsome looks and “great profile,” Barrymore shocked audiences with his gruesome, monster-like appearance as the vicious Mr. Hyde. A little over a decade later, Paramount began preparing a remake of the 1920 film with plans to have Barrymore reprise his role.

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Venomous Snakes & Poison Ants: Picnic at Hanging Rock (1975)

PICNIC AT HANGING ROCK (1975)

“What we see and what we seem are but a dream, a dream within a dream.” – Miranda in Picnic at Hanging Rock (a variation of A Dream Within a Dream by Edgar Allan Poe)

In Peter Weir’s Picnic at Hanging Rock (1975), viewers are reminded again and again of the “venomous snakes and poison ants” that populate the Australian outback. Despite these repeated warnings, the reptiles and insects we see are never an actual threat and cause no harm besides pilfering some leftovers from an unobserved picnic basket. The real danger is unspoken and invisible. It lurks unseen in the shadowy cracks and crevices of Hanging Rock, waiting to ensnare a group of innocent schoolgirls and their unsuspecting math teacher. As is often the case in real life, the horrors that eventually befall the characters in Weir’s film arrive without warning or reason but they leave the victims devastated as they try to make sense of a nemesis that has no fixed name and no discernible face.

This puzzling pastoral horror picture is currently streaming on FilmStruck as part of their Cinema Passport: Australia series, a curated selection of films from the land down under that also includes Nicolas Roeg’s Walkabout (1971), George Miller’s Mad Max (1979) and Bruce Beresford’s Breaker Morant (1980). Watched together these films provide a thought-provoking introduction to the Australian New Wave that emerged in the 1970s and continued into the 1980s. Unlike many other international New Wave film movements that launched in the 1960s, Australia’s got a late start but the results are equally compelling.

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Dreams in the Witch House (1977)

HOUSE, (aka HAUSU), Kimiko Ikegami, 1977

It took the West a few decades to finally catch up with the phantasmagorical output of Japanese filmmaker Nobuhiko Ôbayashi, whose feverish sugar rush cinema would make Baz Luhrmann cry uncle. Actually, you could argue that we still haven’t quite come to grips with him since only one of his films is widely available now, but it’s a doozy: House (Hausu) (1977), a child’s nightmare on celluloid that represents Ôbayashi’s formal feature film debut. Before this film he had been cutting his teeth on many experimental film and TV commercials, the latter often featuring imported American stars like Catherine Deneuve, Charles Bronson, Sophia Loren, Kirk Douglas, and David Niven. If you want a taste of what that entailed, go to YouTube and do a search for “Charles Bronson” and “Mandom” to see what Ôbayashi was up to. You’re welcome. [...MORE]

THE CREEPING FLESH

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The Creeping Flesh (Freddie Francis, 1973) screens on TCM later this week and it’s worth highlighting for several reasons. Oddly enough, for me anyway, the skeleton found in New Guinea by a Victorian scientist – one that can regenerate flesh and which is posited as some ancient embodiment of evil – is low on the priority list. [...MORE]

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