The Innkeepers:
What's it about?
Ti West's follow-up to the chilling, yet restrained, 1980s-set horror The House of the Devil, about a couple of Generation Y slacker-cum-ghost-hunters (Claire and Luke) who are working during the closing weekend of The Yankee Pedlar Inn, a New England hotel with a dark history.
Who would I recognise in it?
Sara Paxton, Kelly McGillis
Great/Good/Alright/Shite?
Up front, if you didn't dig the gradual pace and slow-build tension of The House of the Devil, then you'll no doubt find no entertainment here. However, if - like me - you lapped up that flick, then you'll be in familiar and unsettling territory here. West has a real talent for subtle pacing and characterisation - you genuinely like Claire and Luke, who exist in a lazier hotelier's version of Clerks when they're not busy trying to find evidence of supernatural goings on. However, with the arrival of McGillis' actress-turned-healer, and a distanced widower, things begin to take a chilling turn. Each corridor, each picture frame reflection, each silent pause, holds an increasing sense of menace - you don't know whether to trust West or not after a knowing scare at the top of the flick - and this is the charm of the film. It's a classic ghost story that trades on familiar elements to inspire a sense of deja vu in the viewer. Sly hints crop up to continue the subtle guess-work - musical allusions to Ghostbusters, visual winks to The Shining - precisely where we'll end up is deftly hidden, and being that West has a fondness for horror from the genre's heyday, counting on a cosy wrap-up is sorely misguided. Cast with subtle shades and a glacial sense of propulsion, Saw franchise fanboys need not apply, but those keen on tense chills will be well served. Great.
Click "READ MORE" below for the belated return of Johnny English...
Showing posts with label haunted. Show all posts
Showing posts with label haunted. Show all posts
Friday, 5 October 2012
Monday, 17 January 2011
Hextuple Bill Mini Musings: December-to-January...
Silent Night, Deadly Night:
There are moments during this festively themed slasher that are surprisingly nasty and mean spirited ... not that slashers are generally known for their good natured hugs and kisses, that is ... but it is easy to see how the premise alone enraged a whole league of middle American soccer moms.
What is actually messed up though is that some of the Santa Slaying stuff goes on in front of child actors, which was a bit odd and uncomfortable to see ... however outside of that it's a decent killer flick, even if it becomes more about disjointed scenes in the second half, unlike the clear narrative paths of better known slashers.
Fantastic Mr. Fox:
Charming, in a word. Roald Dahl's tale is given the old school stop-motion animation treatment, with big-and-indie-name cred, and it was really quite enjoyable. Not much to say about it really, but I dug it.
Return to The House on Haunted Hill:
A cheap direct-to-DVD sequel to the post-Scream mental asylum jumper. It's a shame the characters are either bland and uninteresting, or off-the-peg baddies, because the central plot could have been fairly interesting - especially if they'd gotten more into the house itself and it's tortured past. Quite frankly just seeing a few flashes of horror icon Jeffrey Combs (who has no dialogue bar one "NOOOOOO!") isn't good enough and it feels like a missed opportunity ... and once again I'm left still wanting a properly good mental asylum horror flick.
Beyond the Valley of the Dolls:
This 1970 Russ Meyer flick (written by, weirdly, Roger Ebert) is so insanely 1960s than even the 1960s weren't this 1960s. Words of the decade are thrown around at machine gun pace, everyone's into the free-love-and-drugs, and good lord it's just too long. Meyers hadn't really gotten into his full-on swing yet, but his fast-cutting and creative visuals (a precursor to the music video) at least give a bit of flair to all the nonsense that's going on. It's strengths are also its weaknesses.
Crazy Heart:
Not a lot to say about this one, but Jeff Bridges is on tip-top form as an alcoholic country singer given a shot at personal redemption and another shot at the big time. His Oscar was well deserved.
The Bone Collector:
A properly 1990s Se7en cash-in that takes the sinister tone and shocks of Fincher's stand-out horror/thriller and waters them down for more mainstream tastes - an assertion summed up by the rushed reveal, and feel good ending. Before that, however, it was a decent enough serial killer thriller ... although still very much in debt to the superior Se7en.
There are moments during this festively themed slasher that are surprisingly nasty and mean spirited ... not that slashers are generally known for their good natured hugs and kisses, that is ... but it is easy to see how the premise alone enraged a whole league of middle American soccer moms.
What is actually messed up though is that some of the Santa Slaying stuff goes on in front of child actors, which was a bit odd and uncomfortable to see ... however outside of that it's a decent killer flick, even if it becomes more about disjointed scenes in the second half, unlike the clear narrative paths of better known slashers.
Fantastic Mr. Fox:
Charming, in a word. Roald Dahl's tale is given the old school stop-motion animation treatment, with big-and-indie-name cred, and it was really quite enjoyable. Not much to say about it really, but I dug it.
Return to The House on Haunted Hill:
A cheap direct-to-DVD sequel to the post-Scream mental asylum jumper. It's a shame the characters are either bland and uninteresting, or off-the-peg baddies, because the central plot could have been fairly interesting - especially if they'd gotten more into the house itself and it's tortured past. Quite frankly just seeing a few flashes of horror icon Jeffrey Combs (who has no dialogue bar one "NOOOOOO!") isn't good enough and it feels like a missed opportunity ... and once again I'm left still wanting a properly good mental asylum horror flick.
Beyond the Valley of the Dolls:
This 1970 Russ Meyer flick (written by, weirdly, Roger Ebert) is so insanely 1960s than even the 1960s weren't this 1960s. Words of the decade are thrown around at machine gun pace, everyone's into the free-love-and-drugs, and good lord it's just too long. Meyers hadn't really gotten into his full-on swing yet, but his fast-cutting and creative visuals (a precursor to the music video) at least give a bit of flair to all the nonsense that's going on. It's strengths are also its weaknesses.
Crazy Heart:
Not a lot to say about this one, but Jeff Bridges is on tip-top form as an alcoholic country singer given a shot at personal redemption and another shot at the big time. His Oscar was well deserved.
The Bone Collector:
A properly 1990s Se7en cash-in that takes the sinister tone and shocks of Fincher's stand-out horror/thriller and waters them down for more mainstream tastes - an assertion summed up by the rushed reveal, and feel good ending. Before that, however, it was a decent enough serial killer thriller ... although still very much in debt to the superior Se7en.
Wednesday, 30 September 2009
The Haunted World of El Superbeasto...
From the mind of Rob Zombie, this animated straight-to-DVD movie is a must-see for any self-respecting Rob Zombie fan.
While he's not reinventing any wheels with this sleazy little flick, he is having an absolute laugh - it's a veritable who's who of Rob Zombie film regulars, horror icons and horror movie references, nods, winks and prods - plus it's got tons of cartoon boobs in it and zombie Nazis.
If you'll remember from my thoughts on the bloody excellent Dead Snow, if you've got zombie Nazis in your flick, then you're pretty much golden, and fortunately El Superbeasto is bloody good fun.
Some of the gags stray wide of the mark, or feel a tad out-dated, but it moves at such a pace that any flaws are quickly paved over with another sleaze-filled scene of boob-surrounded violence. Plus the song during Suzi X's first big battle with the zombie Nazis had me laughing out loud as I sat there all on my tod watching this cheeky feature.
To be fair, it isn't all from the fevered mind of Rob Zombie - there's a variety of additional directors, writers and sequence-specific staff, but RZ is the lead writer and director, so regardless, it feels very much his baby, and as such there are a few nods to his own work.
Not only does Michael Myers (a la Rob Zombie) crop up at one point, but we also find Otis, Baby and Captain Spaulding hanging out in a hellish bar surrounded by monsters galore - and yes, Sid Haig and Bill Moseley return to their roles. Also, there's the inclusion of werewolf Nazis - like those in his ideal-for-a-trailer "Werewolf Women of the SS" for the Grindhouse project ... and that's just the tip of the ice berg.
Character wise, there's something for everyone - from Tom Papa's (who was also co-writer) ego-fuelled Beasto to Sheri Moon Zombie's sexy 'n' sassy Suzi X, from Rosario Dawson's foul-mouthed sex bomb Velvet Von Black to Paul Giamatti's tantrum-fuelled Dr Satan, and Brian Posehn's horny-as-all-hell Murray.
The voice talent throughout is top notch, and it's full of names - just a quick squizz on the IMDb page reveals some of the other aural treats that are in store for you: Danny Trejo, Harland Williams, Clint Howard, Dee Wallace, Geoffrey Lewis, John Di Maggio, and Ken Foree among others.
A bloody good laugh, it's only a shame the DVD didn't have a greater variety of extras - all you get are deleted scenes & shots, as well as alternate scenes (which at the time of writing I am yet to see) - but even still, it's a must-see for Rob Zombie fans, and it's highly recommended for those who enjoy a delve into RZ's craziest cartoon images ... it's almost like a White Zombie album cover come to life, come to think of it.
While he's not reinventing any wheels with this sleazy little flick, he is having an absolute laugh - it's a veritable who's who of Rob Zombie film regulars, horror icons and horror movie references, nods, winks and prods - plus it's got tons of cartoon boobs in it and zombie Nazis.
If you'll remember from my thoughts on the bloody excellent Dead Snow, if you've got zombie Nazis in your flick, then you're pretty much golden, and fortunately El Superbeasto is bloody good fun.
Some of the gags stray wide of the mark, or feel a tad out-dated, but it moves at such a pace that any flaws are quickly paved over with another sleaze-filled scene of boob-surrounded violence. Plus the song during Suzi X's first big battle with the zombie Nazis had me laughing out loud as I sat there all on my tod watching this cheeky feature.
To be fair, it isn't all from the fevered mind of Rob Zombie - there's a variety of additional directors, writers and sequence-specific staff, but RZ is the lead writer and director, so regardless, it feels very much his baby, and as such there are a few nods to his own work.
Not only does Michael Myers (a la Rob Zombie) crop up at one point, but we also find Otis, Baby and Captain Spaulding hanging out in a hellish bar surrounded by monsters galore - and yes, Sid Haig and Bill Moseley return to their roles. Also, there's the inclusion of werewolf Nazis - like those in his ideal-for-a-trailer "Werewolf Women of the SS" for the Grindhouse project ... and that's just the tip of the ice berg.
Character wise, there's something for everyone - from Tom Papa's (who was also co-writer) ego-fuelled Beasto to Sheri Moon Zombie's sexy 'n' sassy Suzi X, from Rosario Dawson's foul-mouthed sex bomb Velvet Von Black to Paul Giamatti's tantrum-fuelled Dr Satan, and Brian Posehn's horny-as-all-hell Murray.
The voice talent throughout is top notch, and it's full of names - just a quick squizz on the IMDb page reveals some of the other aural treats that are in store for you: Danny Trejo, Harland Williams, Clint Howard, Dee Wallace, Geoffrey Lewis, John Di Maggio, and Ken Foree among others.
A bloody good laugh, it's only a shame the DVD didn't have a greater variety of extras - all you get are deleted scenes & shots, as well as alternate scenes (which at the time of writing I am yet to see) - but even still, it's a must-see for Rob Zombie fans, and it's highly recommended for those who enjoy a delve into RZ's craziest cartoon images ... it's almost like a White Zombie album cover come to life, come to think of it.
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