Mind Over Matter: THE SORCERERS (1967)

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Since Michael Reeves unfortunate death in 1969 at the age of 25, the British director’s life has become the stuff of cinematic legend. His reputation as a sort of Byronic hero who challenged the British film establishment was secured when he died much too young due to an accidental drug overdose leaving behind just a handful of low-budget horror films that attained cult status in subsequent years. His distinct talent and the ephemeral nature of his work have led many of Reeve’s colleagues and admirers to speculate on the direction his career might have taken if he had lived longer and it’s not uncommon to see his name mentioned along with better known British filmmakers who also dealt with controversial material including Michael Powell and Ken Russell. Reeves’ bone-chilling WITCHFINDER GENERAL (1969), which explored the brutality of the witch hunts in England during the 17th century, is often cited as one of the greatest and most gruesome horror films produced during the 1960s but his most intimate and introspective film might be THE SORCERERS (1967).

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The Hunted: Rituals (1977)

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Though Halloween has passed, it is still possible to watch horror movies. It’s quite pleasant, too, not being harangued about the best one  “you’ve never seen” every other mouse click. I celebrated this freedom from list fascism by attending a twelve hour horror movie marathon at Anthology Film Archives on November 1st. It was an eclectic selection that ranged through low-budget Mexican vampires, classy British omnibus films, and schlocky AIP giant rat attacks. The title that stuck in my cranium and asked to be dispatched in this space is the 1977 Canadian survival horror obscurity Rituals (aka The Creeper). A post-Deliverance male bonding death march starring Hal Holbrook, it pits a group of alcoholic doctors against a psychically damaged ex-soldier in the wilds of Northern Ontario. The film relentlessly strips away the men’s defenses until they are physically and emotionally bare, live nerve endings that become easy targets for the almost entirely unseen soldier. In their profession the doctors have made mistakes, often tragic ones, and their medical ethics loom large when they are forced to deal with their own mortality. The only decent home video version is an out-of-print DVD from Code Red, but it’s well worth tracking down.

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Halloween Viewing Recommendations with a Feminine Touch

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Halloween is fast approaching and tonight TCM is starting the party early with a batch of great haunted house films beginning at 5PM PST (8PM EST) followed by a 24-hour classic horror movie marathon that’s sure to please the most finicky horror connoisseur. With so many terrifically terrifying films to choose from I decided to ask some of my favorite female film journalists who also happen to be fellow horror devotees to join me in recommending one movie from TCM’s Halloween line-up for your viewing pleasure. I think you’ll enjoy our enthusiastic endorsements but you might want to approach them with caution. A few contain minor spoilers along with some surprising scares but I hope that won’t stop you from joining us in celebrating Halloween with TCM. Demonic monsters, scary chauffeurs and axe-wielding killers are just a few of the shocking thrills that await you!

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October 25, 2014
David Kalat
Posted by:

Halloween Won’t Hurt You: Or, How My Daughter Learned to Stop Worrying and Love the Blob

It’s not that I advocate terrifying children, I hope you understand, but… well, let me start at the beginning.

When I was 8 years old, my dad used to wake me up late at night to join him in watching the classic Creature Features package on local TV. The deal was I had to finish my homework and go to bed early, and then at 11 he’d come wake me up to join him for late night popcorn and Dracula (or pizza and Frankenstein—he’d mix things up).

As I’ve mentioned here before, I was blessed with parents who made little effort to censor what I had access to, and who blithely took my pre-teen self to see things like Philip Kaufman’s Invasion of the Body Snatchers, Ridley Scott’s Alien, John Carpenter’s The Thing… I was enthralled—and also terrified. I had nightmares, and I loved them.

When I became a parent myself, I wanted to share with my kids the monster movies I’d grown up with. And so, one night in 2005, I showed my 5 year old daughter and 3 year old son a marathon of DVDs on Halloween that culminated with The Blob.

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KEYWORDS: The Blob
COMMENTS: 16
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Mummy Dearest

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Hammer Films produced four Mummy movies between 1959 and 1971 and this coming Saturday (Oct. 25th) TCM is airing one of my favorites, Seth Holt’s BLOOD FROM THE MUMMY’S TOMB (1971). This unabashedly sexy horror extravaganza was the last Mummy movie produced by the ‘Studio that Dripped Blood’ and thanks to a great cast and some creative directing choices it turned out to be one of their best. But before it reached the screen the production was plagued by some serious setbacks that seemed to resemble the effects of a ‘mummy’s curse’ that’s often associated with doomed adventure seekers and tomb raiders. Was it just circumstance and bad luck or did something supernatural interfere with the making of the film? Read on to find out!

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Stephen King Goes to the Movies

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A Night at the Movies: The Horrors of Stephen King (Laurent Bouzereau, 2011), an hour-long documentary with the iconic best-selling author, premiered three years ago on TCM and is being brought back this Saturday. The topics covered include the early horrors that both scared and inspired him as a kid, moving on to films like Dementia 13, Night of the Living Dead, both versions of The Thing, his love of B-movies, ghosts, vampires, religion, slashers, and a section I’m especially looking forward to seeing where he discusses the movies that were made from his books. With the latter in mind, I’m here to provide a few highlights from a 600+ page paperback released five years ago that I stumbled across while attending the last Telluride Film Festival titled Stephen King Goes to the Movies. [...MORE]

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October 18, 2014
David Kalat
Posted by:

I, for one, welcome our new insect overlords

So, in case you haven’t heard, there’s this movie called Phase IV. It’s a 1970s apocalyptic sci-fi thriller about killer super-intelligent ants, and it was directed by Saul Bass of all people. And instead of special effects, the killer ants are played by real ants, filmed in close-up by National Geographic photographer Ken Middleham.

Either that is enough to make you drop everything and go see it (or go see it again) immediately, or you’re one of those people whose tastes make no sense to me.

But the thing is, as deliriously entertaining as Phase IV is, it’s a singular creation that could only have existed when it did, and couldn’t be (re)made today. And therein lies this week’s story…

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KEYWORDS: Phase IV, Saul Bass
COMMENTS: 6
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Aaahoo! She-Wolf of London (1946)

swlposterThe setting is London in the early 1900s, where a young Scottish woman named Phyllis Allenby (June Lockhart) is preparing to wed her beau (Don Porter). The happy couple’s plans are interrupted when someone or something begins killing locals at a nearby park. Terrified Phyllis is certain an old Scottish curse that has plagued her family for centuries is turning her into a bloodthirsty werewolf while she sleeps but her domineering aunt Martha (Sara Haden ) and lovesick cousin Carol (Jan Wiley) seem to think otherwise. Is Phyllis a werewolf? Is she going mad? Or is something else even more sinister stalking the nearby park under the cover of night? SHE-WOLF OF LONDON (1946) is often dismissed as one of the lessor entries in the Universal monster cannon but while watching this briskly paced B-movie again recently after decades of reading numerous dismissals, I was swept up by the films moody atmosphere and shaken by its surprising brutality. The film may not satisfy viewers anticipating a typical monster movie but SHE-WOLF OF LONDON has plenty of things to recommend it and with Halloween quickly approaching it seemed like the perfect time to praise its unsung sinister charm.

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Freak Shows: Come one, come all to the Scariest Show On Earth!

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Lon Chaney in HE WHO GETS SLAPPED (1924)

Last night FX premiered the new season of AMERICAN HORROR STORY. The award-winning horror anthology’s latest incarnation is called FREAK SHOW and it’s set in Florida during the 1950s at a circus sideshow where strange goings-on take place in and outside of the Big Top. The show’s creators, Ryan Murphy and Brad Falchuck, have admitted in recent interviews that they found inspiration for the new season in two classic horror films, Tod Browning’s FREAKS (1932) and Herk Harvey’s CARNIVAL OF SOULS (1962) but circuses and carnivals have long been a staple of horror cinema and director Tod Browning used the sideshow as a setting for numerous uncanny films before he made FREAKS. With Shocktober upon us it seems as good a time as any to showcase some of my favorite horrific or just plain odd and unusual films with scary clowns and sideshow performers that paved the way for AMERICAN HORROR STORY: FREAK SHOW. So step right up ladies and gents! Tickets are free for today’s main attraction! Thrills, chills and rare delights await all who dare to enter!

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Death’s Design: Final Destination (2000)

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John Waters wishes he directed Final Destination. At the recently completed John Waters retrospective at the Film Society of Lincoln Center, there was a sidebar of films Waters was “Jealous I Didn’t Make”. One of them was Final Destination, the 2000 horror film about five teens who cheat death – for which Death itself wants bloody recompense. It spawned four sequels (the most recent was Final Destination 5, released in 2011), having created the ideal  machinery for the mid-budget franchise. The main character was non-corporeal, with Death’s presence represented as a light breeze or a trickle of water, so there was no worry of escalating salary demands. Then they could replace each iteration of the cast with unknowns, as Death plucked them off one by one in “accidents” of savage everydayness (a slip in the bathtub, a mug springing a leak). In his introduction to the screening (in blessed 35mm), Waters reminisced about his time in Baltimore grindhouses, bonding with the brood of rats that scrambled under his feet while marvelling at the depravity on-screen. He considered Final Destination worthy of that heritage, a resourceful exploitation film with shades of Ingmar Bergman. These are teenagers who are grappling with their morality for ninety-eight minutes, though on the genre level. So instead of playing chess with Death, they try to outsmart it as various pointy things hurtle towards their fleshy areas. Waters repeatedly stated that he was not being ironic, that the film is not camp, but a well-crafted fright film. I agree with the distinguished Mr. Waters.

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