The Weeping Woman (2011)

The Weeping Woman is a short film adapted from a short story by Paul Kane. It is about a man (Stephen Geoffreys) taking a short cut home to his family one snowy afternoon. After nearly running into a woman (Melissa Bostaph) standing in the middle of the road, he gets out to see if she is okay. She begs him to help “her children” and so he follows her into the isolated woods that border the side of the road. There in the snow-bound stillness he makes a shocking discovery…

I’ve been a big fan of Mark Steensland’s work, from his horror anthology Beyond the Pale, kick-ass graphic-novel adaptation Dead@17 (he should IMMEDIATELY be hired to helm the feature, hear me big studios?!) to his more recent short films Peekers and The Ugly File. This is a man who actually got me into critiquing horror films when I was lucky enough to take his horror movie film class back in college, so I have a huge amount of respect for Steensland. I think he has improved with every single one of his short films and The Weeping Woman is no different!

Firstly, I enjoyed how Steensland decided to set the film in winter instead of the summertime setting of Kane’s original story. I loved the desolate atmosphere the wintery setting gave the film.  Adding to the eerie feeling is Fabio Frizzi’s effective score. The Weeping Woman is the first short film Frizzi, who most well-known for collaborating on the horror films of Lucio Fulci, agreed to score. His distinctive sound fits very well in the film.

The film is also heightened by Steensland direction, which is polished and high quality. Many people think of short films as a filmmaker’s gateway to feature-length movies, but Steensland has shown time and time again that short films can be an art form in themselves and can be every bit as high quality and effective as full-length films. Besides boasting a professional look, The Weeping Woman also has a variety of camera angles that keep things visually interesting.

Equally deserving of praise is Stephen Geoffreys’ and Melissa Bostaph’s performances. Geoffreys’ is most known for his memorable side-kick acts in films like Fright Night, and while some of his goofiness is on-screen in The Weeping Woman (gotta love one of the first scenes that features him singing along to “Turn Up the Radio”), he delivers a wonderful “everyman” performance that makes you genuinely like, and root for, his character. Melissa Bostaph is also wonderful as the titular character “the weeping woman”. At first she displays such a sense of dismay and sorrow that, were you in Geoffreys’ character’s shoes, you also couldn’t help following her into the woods. When her true nature is revealed, you gotta admire her chutzpah in taking care of her nasty little monsters…errrr, I mean children. I gather this is her first film, but she really pulled off an amazing performance.

Hopefully The Weeping Woman will be making appearances at film festivals or otherwise be available for people to see soon, because this is one you do not want to miss and shows that Mark Steensland will soon become an even more well-known and respected name. Right now Steensland is horror’s best-kept secret, but I’m sure his talents will soon be discovered and appreciated by a far larger audience!

Wanna get in on the secret? For more info, visit www.marksteensland.com!

Home Movie (2008)

Home video cameras offer families a chance to capture precious moments, whether it’s in the backyard, on vacations, during holidays or just everyday life. Home videos are usually meant to capture the best of times, but sometimes they can also capture the worst. Usually this footage ends up on America’s Funniest Home Videos or Break.com, but what if home videos showed something truly disturbing, like every parent’s worst nightmare that their kids are not the sweet and innocent children they thought they were raising but instead sick and twisted little bastards? What if a family’s home videos revealed the extent of their children’s sadistic nature?

This is the basic premise of Home Movie, which uses “found footage” to document one family’s desperation as they watch their creepy kids commit unspeakable horrors, all through the lens of the family camcorder. I hadn’t heard anything about Home Movie before watching it and wasn’t expecting much, but it delivers a truly sinister and disturbing story.

The film shows us the Poe family, comprised of dad David, mom Clare, and siblings Jack and Emily. They’ve just moved to an isolated house in the country and also bought a brand spankin’ new video camera to record their adventures (well, according to David…Clare originally bought the camera for her psychology practice). They seem like a normal loving family…except their kids, twins Emily and Jack, are pretty creepy. They don’t say much and just stare into the video camera with empty expressions. And then there’s an instance where David gets hit with a baseball…which could be construed as an accident, until Jack starts throwing rocks (“Turn the camera off…He’s throwing rocks at me”). The kids’ bratty behavior begins to escalate and goes from petulant (throwing rocks, behaving badly at dinner) to downright shocking (crucifying the family pet on Christmas). Clare recommends counseling/medication and tapes her sessions with the troublesome twosome. She also begins to suspect that David is abusing them and causing them to lash out. However, David, a Lutheran minister, thinks the kids are possessed by evil spirits and believes an exorcism is in order. Through all this, the twins’ progressively violent and shocking behavior only seems to be getting worse…are they being abused? Are they possessed? Or are they just burgeoning sociopaths?

I am really surprised that this film hasn’t been given more attention, because it’s a fine flick. Writer/director Christopher Denham creates a chilling story and shocking visuals. The children are just creepy to begin with (kudos to child actors Amber Joy Williams and Austin Williams for their convincing performances), but Denham creates so much tension by giving us a voyeuristic view of the Poe household. We feel as if we are a fly on the wall while watching the horrific events unfold.

Also, Denham uses the home video footage wisely, so it appears realistic and believable (which is much harder than it looks). For example, the parents are always saying “shut that camera off!” when something bad happens. The footage that is shown comes off as very natural and is never forced. Every disturbing detail is captured and there are plenty of shocks throughout the film as well as a twisted ending. The story builds subtly, but the intensity levels keep rising with each new “incident” the family experiences. It takes a little patience to get through the first part of the film, but the tension keeps mounting and mounting until you just can’t look away.  I also enjoyed how the story explored many different explanations for the children’s behavior. Are they being abused? Are they demon possessed? Is something evil in the house influencing them? Are they just pure evil? These different possibilities kept me on my toes and on the edge of my seat.

Considering there were only four characters in the film and the action was always focused on them, the actors all did a phenomenal job. As mentioned previously, real-life siblings Amber Joy and Austin Williams did a very convincing job of portraying evil children. The film could have easily gone campy if they gave over the top performances, but they played it very subtly, which ended up making their characters VERY unsettling. Props must also be given to director Denham for really getting these stellar performances out of child actors. Adrian Pasdar and Cady McClain were equally brilliant as the befuddled parents. Their performances came off as very natural and completely believable. You could really feel their frustration, confusion and fear through their performances and couldn’t help but sympathize with them.

This is a rare independent film whose atmosphere and psychological terror deliver unrelenting dread, tension and suspense. Home Movie is an underrated film that deserves more attention from horror fans and is one of the best “found footage” or “faux documentary” indies to rock my world. You should definitely check it out…

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Grace (2009)

I’ve been looking forward to Paul Solet’s full-feature Grace ever since I saw his short of the same name. Grace deals with a lot of my biggest fears – pregnancy, children, motherhood, etc. As a woman, the prospect of pregnancy scares the poo outta me and is one of the many reasons I don’t want to have kids. Also, the alien nature of babies just creeps me out, what with their big googly eyes, babbling language, constant crying and incessant hunger, not to mention how much self-sacrifice goes into raising a child. Grace taps into these fears and more, but its not just to unnerve women…men will also be very perturbed by Grace’s turn of events.

Grace tells the story of Madeline (Jordan Ladd) and Michael (Stephen Park), a married couple trying to conceive a baby. When Madeline finally gets pregnant, she is determined to deliver the baby au natural with a midwife instead of going to a hospital, much to the chagrin of her meddling and traditional mother-in-law, Vivian (Gabrielle Rose). Madeline is also a committed vegan and is very eco-conscious, which irks Vivian even more.

Madeline and Michael joyously await the birth of their baby girl, but a tragic car accident leaves both her husband and her unborn baby dead. Against the wishes of her midwife, Patricia (Samantha Ferris), and mother-in-law, Madeline decides to carry the infant to term. When the baby is delivered, it miraculously comes back to life and Madeline names her Grace.

Madeline dotes on Grace, but she soon notices there’s something not quite right with the baby. Grace attracts flies, smells a bit funky, gets bleeding sores on her skin and seems to prefer human blood to breast milk…

Soon, Vivian starts to nag Madeline about seeing her precious granddaughter and even going so far as to send the family doctor, Richard Sohn (Malcolm Stewart), to check up on her. With Grace craving more and more blood, though, Madeline isn’t exactly ready to show her off. Patricia starts poking around too, concerned about her friend but more interested in putting the moves on the new baby momma. As Madeline deals with the mounting external pressure of intruders, she also tries her best to satiate the hungry Grace…but she soon realizes that her own blood will not be enough to satisfy the bloodthirsty babe…

While more subdued and slower-paced than the shocking short, this feature-length Grace still packs a punch. The woman-centric issues of pregnancy and self-sacrificing motherhood are rarely featured in horror, so it’s nice to see these addressed. The prospect of going through a pregnancy and giving birth to another person is scary enough, but think of if your baby was born…unnatural…how much would you sacrifice for them then? The bond between a mother and child are strong, so like Madeline, I’m willing to bet you would sacrifice everything and anything for them. Madeline breaks her own ethical beliefs to ensure that Grace gets what she hungers for…blood…and is prepared to stop anyone that would try to take her baby away. Sacrifice and a mother’s bond to her child are just a few of the many themes explored in Grace and are among the many intelligent layers to this intriguing film.

Though Grace isn’t your “typical” horror film, the script and story are smart and I squeamishly enjoyed its many different layers, including the “meat is murder” subtext that peppers the film (the real footage of animals being slaughtered/tortured will unnerve many). The character of Madeline was well-written as she was strong, resolute and firm in all her beliefs – beliefs that would soon be challenged by her bloodthirsty monster of an infant. And yet, the film never falls into being an exploitative “killer baby” picture, but maintains a somber, tragic and straightforward tone throughout its running time.

Jordan Ladd absolutely glows as Madeline. Her portrayal of a mother who will do whatever it takes to care for her child felt incredibly realistic, even though Ladd herself has never had any children. The fact that she was able to tap into such a maternal role is amazing in of itself, but she actually made us care about the heartbreaking tragedy of her situation. In fact, all of the women in the film portrayed very strong, maternal roles. Gabrielle Rose as mother-in-law Vivian had her own psychological issues, including being obsessed with being a mother and wanting to breast feed again though she was now a grandma. Rose played the condescending Vivian with a “mother-knows-best” vibe that will make your skin crawl. Even the knowledgeable midwife Patricia, in a commanding performance by Samantha Ferris, was concerned with Madeline and was constantly checking up on her, though most of that came from personal feelings she still had for Madeline; the two used to be lovers in college. Each and every one of the female characters was written to be a strong woman, which is quite refreshing for a horror film! The men, on the other hand, were mainly secondary characters or villains, as is the case with the creepy Dr. Richard Sohn, played by Malcolm Stewart, who almost orders Madeline induced early after she starts having chest pains…until Patricia intervenes. And Dr. Sohn gives Madeline one of the most intrusive and disturbing home exams I’ve been unfortunate enough to witness! It is always a pleasure to see a horror movie that features smart, caring women as the main characters instead of just relegating them to T & A shots or “scream queen” roles.

Besides excelling at writing a compelling script and engaging characters, Solet’s direction is also impeccable. The sharp contrast between the early scenes that are bathed in bright sunshine and warm colors and later scenes where shots are veiled in shadows, sickly greens and muted colors complements the accompanying action perfectly. There are also great shots showing Grace’s room adorned with fly traps and the birthing scene itself is quite traumatic.

Solet has taken a dramatic turn away from the current crop of immediate, in-your-face mainstream “horror” that scares with jumpy editing and fake frights. Instead, he has crafted a restrained film that manages to crawl under your skin and squirm there, increasing the discomfort until the satisfying finale. It’s not a perfect film by any means, and is definitely not for everyone, but it is a very well-done and quiet character study that shows off Solet’s skill as both as a writer and director as well as the amazing range of its actors.

Grace slowly gestates, until it ripens from quiet character study to full-blown horror show. If you can enjoy the slowly unfolding dread, Grace definitely delivers.

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Beyond the Door (1974)

Feeling very much like a mix of Rosemary’s Baby and The Exorcist, Beyond the Door (aka Chi Sei? and The Devil Within Her) tells the story of Jessica Barrett (Juliet Mills), a seemingly happy ‘70s housewife with two bratty, potty-mouthed kids and husband Robert (Gabriele Lavia) who is a successful music producer. Things take a turn for the worse when Jessica discovers she is pregnant. When Robert finds her in the bathroom puking up blood, Jessica swears that the baby is trying to kill her. She begins hearing strange, guttural voices and laughter and acting strangely. Upon visiting the doctor, she is shocked to find out that the fetus is developing at an accelerated rate. There is also a strange man named Dimitri (Richard Johnson) hanging around, who is either intends to help or harm Jessica. It all comes to a head when Jessica becomes possessed by the devil inside of her, spewing bile and threats to all around her. Can she be helped or will she give birth to the damned thing inside of her?

Beyond the Door is a great Satanic possession film form 1974. It probably isn’t a must-see for all horror fans, but those that enjoy films in this particular sub-genre should definitely give it a look. Though it sometimes has an unintentionally funny feel to it, it has a great atmosphere, a few nice scares and enough gross-out puke to give The Exorcist a run for its money!

Beyond the Door came out just a year after The Exorcist, and though it is similar I wouldn’t call it a direct rip-off. Though, like Regan in The Exorcist, Jessica takes on a whole new, unflattering look, spews a lot of groddy greenish-brown puke and turns her head all the way around, the similarities don’t make the film any less engrossing. The film also shares some close similarities with Rosemary’s Baby, like when Jessica eats a rotten banana peel off the street just like Rosemary eats raw meat in Rosemary’s Baby. Even though Beyond the Door has been called a “rip-off” of earlier horror flicks, I still found it to be an enjoyable film and worth seeing.

One thing that makes it such a treat is the crazy kid characters. The little boy, Ken (David Colin Jr.) loves to say curse words and his older sister, Gail (Barbara Fiorini), loves to talk like a hep cat and has fifteen copies of the same book she always lugs around with her. I’m not really sure what the point of making these kids so weird was, but it sure kept me entertained!! The characters of the parents, Jessica and Robert, were a little more normal, but they certainly didn’t act like normal parents!

Besides the quirky characters, the narrative of the story flowed pretty normally. I loved how it opened upon this candlelit church with an eerie voiceover of the “star” of the story! Though there were some plot holes and things that were never quite tied up, overall I enjoyed the story the film presented. The story was engaging, the characters were unique, the situation was scary and the location was visually arresting.

Speaking of locations, Beyond the Door’s location of sunny San Francisco, with additional scenes filmed in Italy, gave the film a beautiful, dreamlike quality that juxtaposed well with the horror later in the film. The protagonists’ apartment and surroundings are all beautiful…but things start to take a sinister turn as Jessica becomes possessed by the devil inside her. The children’s toys take on a sinister look, cupboards slam on their own, plates are hurled against the walls before breaking into hundreds of pieces and Jessica herself becomes menacing as the demon takes over her body. The contrast between the airy apartment before the possession and the dark, isolated apartment it becomes during the possession really heightens the tension and illustrates the dramatic change Jessica has gone through.

Beyond the Door is a forgotten possession film that really should be seen by fans of the sub-genre. Though it obviously “borrowed” heavily from The Exorcist and Rosemary’s Baby, it is still a pretty good film that deserves to be seen!

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Plague Town (2009)

You don’t have to convince me that kids are creepy. I’ve loathed the little buggers ever since I took a job as a babysitter over the course of a summer while I was a teen. The little Spawns of Satan (as I liked to call them) ran me ragged, throwing tantrums, locking me out of the house, torturing me with Britney Spears and Backstreet Boys and generally being little monsters. So, I am always eager to watch evil kid movies, just to see how unpleasant children can be.

Enter Plague Town…14 years ago in a small Irish village something unmentionable was born. So evil was it that the priest was called to kill it, but its parents had different plans. In the present day, a dysfunctional American family is visiting the Irish countryside to try to bond with each other. The father, Jerry (David Lombard), has brought along his fiancee Annette (Lindsay Goranson) to try and bond with his two girls, the gothy Molly (Josslyn DeCrusta) and blond bitch Jessica (Erica Rhodes). Jessica took a fancy to an Englishman named Robin (James Warke), so he too has come along for this family adventure, much to the chagrin of the rest of the family. In between bickering with each other, the family manages to miss the last bus back into town and find themselves stranded in the middle of nowhere with nightfall quickly approaching.

Walking down the road they find an abandoned car, complete with unperturbed luggage, on the side of the road. While Robin and Jessica walk to find help, the remaining three decide to wait in the car. When Robin and Jessica fail to return, the father sets out to find some help. Soon, they all discover that malformed, sadistic kids roam the woods and they aren’t too happy with the outsiders invading their turf.

Supposedly Plague Town was based upon one scene writers David Gregory (who also directed) and John Cregan came up with. This just happens to be THE creepiest and strongest scene in the entire film and involves the character of Rosemary (Kate Aspinwall), the matriarch of the deformed children who has glassy doll eyes in place of her peepers (just take a look at the poster). It’s unfortunate that this is the only scene in the entire film that is effective, because it shows just what tremendous potential this film had. Any potential this film showed is quickly lost in the hackneyed script, undeveloped story and bad acting.

The biggest problem was with the script. The story just felt undeveloped and a bit generic. Not enough was done by Gregory and Cregan to make it a memorable story and I lost interest very quickly. There just wasn’t enough to hold the weak story together and it definitely could have used more development. Plague Town just didn’t have enough material to justify making it a feature-length film and because of that it felt like most scenes were used as padding instead of being used to move the story along. I really would have liked to see more time spent on the deformed kids and the little village they came from.

The killer kids were the most interesting characters in the film, but instead of spending time on their backstory we have to watch the American family bickering between each other. Right off the bat the characters of the family are annoying, especially Jessica. There’s also a certain amount of awkwardness about the characters that doesn’t lend credibility that they are a family. The dialogue feels forced and a bit off…not like a family but rather like a group of strangers who are forced to communicate (but perhaps that was the point).

The characters may have been written badly, but the actors don’t do much to commend their performances either. Some disappear into the background of the film altogether, like Lombard (Jerry, the father) and Goranson (Annette, the father’s fiancee), while others just grate on your nerves, like Rhodes (Jessica). The only two actors who did a decent job were DeCrosta as Molly and Warke as Robin. Warke’s encounters with the evil children are especially memorable, especially when he survives a face-disfiguring shotgun blast and has a creepy meeting with Rosemary.

As for the scares, except for the creepy first encounter with Rosemary, Plague Town continued to disappoint. There are some pretty laughable scenes with the kids hitting people with tree branches, someone getting beat to death with a hubcap and little kids running through the mist. However, I really did like the creepy looks of the children, from the masks they wore (think Michael Myers’ white mask) to their pale, demon-like faces. I also enjoyed the only memorable kill scene of the film where someone is “scalped” by a taut piano wire. With only these two instances to commend the film, though, I find it hard-pressed to recommend Plague Town.

Plague Town tends to drag on and on, like the filmmakers needed to add more to the story to make it feel more complete. What needed to be done was focus more on the horrific mutant children and show more scenes with the nightmare-inducing Rosemary. By the third act, I was barely keeping my eyes open and the inclusion of the villagers really felt tacked on.

I went into Plague Town (despite the misleading title) to be spooked by creepy kids raising hell, but instead I was disappointed by lack of cohesive story, bad acting, poor pacing and only a few scares. Plus, I think the kids I babysat for in high school could whip these mutant kids’ asses.

Available from Amazon!

Perkins 14 (2009)

Out of all the new After Dark Horrorfest DVD’s released this April, I was actually looking forward to Perkins 14. Perkins 14 is a collaborative effort from the horror community and massify.com. Writers submitted ideas, audition tapes were submitted and fans could pick what they thought was the best of the best. Eventually, a winning story and cast were chosen. This community effort is something I’m sure we will be seeing a lot more of and it is a very interesting concept. As for how well it works, well, that may be another story…

Ten years ago, 14 kids from Stone Cove disappeared, including police office Dwayne Hopper’s (Patrick O’Kane) young son. When Ronald Perkins (Richard Brake) is locked up in jail for a traffic violation, Hopper begins to suspect he is the “Stone Cove Killer” that abducted his son and 13 others. After investigating and searching Perkins’ property, Hopper is certain he is the perpetrator and in a fit of rage kills him…but Hopper doesn’t realize that the children are still alive or that Perkins brainwashed the children and pumped them full of drugs, turning them into slathering, fast and bloodthirsty monsters that swarm upon the town and begin killing anyone in sight.

You have to admit, the story of brainwashed kids descending upon a town like locusts and killing every single last person as revenge for their “master” sounds pretty awesome! Unfortunately, Perkins 14 approaches this story all wrong. Instead of focusing on Perkins and his brood, it focuses on Officer Hopper and his family, including his wife who is cheating on him and his teenage daughter who is trying to get with a much older rocker (ewwww) played by ex-Misfits vocalist Michale Graves. I really could have cared less about the dysfunctional Hoppers – I wanted to see just how Perkins brainwashed the kids and trained them to kill, especially since he did it all from the confines of his basement.

Unfortunately, Perkins gets offed in the first part of the movie. He is inherently more interesting than any of the other characters and played brilliantly by Richard Brake (as probably the best performance in the film), yet we have to watch the boring Hoppers as they hole themselves up in the police station as the 14 kids wreak havoc in Stone Cove. We get a small glimpse of Perkins’ motivations (which are also interesting) for brainwashing the kids, but it certainly wasn’t enough for me! I wanted more explanation and actually wanted to see Perkins’ past and how he brainwashed the kids.

As you can see, the real problem with the film is the screenplay, written by Lane Shadgett who has no other screenwriting experience listed on IMDB.com (though it looks like he’ll be adapting Bret Easton Ellis’ Lunar Park for the screen…yikes!). The story has plenty of plot holes and things that need clearing up, but its whole focus on the Hoppers is just too narrow of a scope when there are so many other more interesting things that are going on. Also, the dialogue is atrocious! When a group of teenagers were speaking, my mouth was agape in shock at the clichéd and fake way they were speaking! Most of the dialogue is awkward and comes across as stilted or out of place. For example, in one of the most inopportune moments, Hopper’s wife tries to bring up the matter of her infidelity. Lady, your husband probably doesn’t want to talk about it when there are PHP-pumped kids, one of them that used to be your son, that could break through the door any minute!

Things get a bit more fun and bloody when the 14 are let loose and begin to kill anyone in sight, but their movements and flesh-eating were a bit too zombie-like for my liking. They are supposed to kill because that is what they are trained to do, but not sit there and munch on someone’s arm! It’s not like Perkins could have trained them to like the taste of human flesh and by the looks of their strong, muscular frames they certainly weren’t starving! Despite this, I thought the gore was very well done. We get a nice scene of ocular horror that pays homage to Fulci’s Zombi 2 movie and the kids look absolutely amazing in their filthy rags and pale, sore-infested faces.

I also thought the direction by Craig Singer (who previously did After Dark’s Dark Ride) was decent, though some scenes were so dark you couldn’t really tell what was going on. By looking at the wicked cool poster I thought the direction would be a bit more stylish, but it’s pretty bland point-and-shoot with no fancy tricks. Still, overall it works for the film, I just wish some of the darker scenes were lit a bit better.

With a better script (and better screenwriter) I think Perkins 14 could have been a much more entertaining story, but as it stands it is a pretty messy attempt at a horror movie. I believe that collaborations like this from horror fans can work, but only if the right professionals are chosen to adapt it to the screen. It’s not a horrible movie by any means, but nonetheless it is more disappointing and frustrating than it is entertaining.

Available from Amazon!

A Christmas Tale (2008)

Part of the 6 Films to Keep You Awake set that was released by Lionsgate in late 2008, A Christmas Tale is set in Spain in December of 1985 and tells the tale of five childhood friends that stumble upon a body of a woman dressed in a Santa suit that’s fallen into a deep hole in the forest. After verifying that she is still alive (by pouring soda on her head) two of the kids go get the police while the other three try to haul her out of the hole with some rope. Once at the police station, the kids are ignored by the town’s cop but find a “wanted” notice for the woman in the hole. She is a dangerous criminal named Rebeca Expósito who recently stole a bunch of money from a bank. They run back to tell the rest of the gang and together they decide to leave her in the hole until she gives up the hiding place of the money. They resort to starving and torturing her to get her to tell them where the money is. Despite their promise to let her go when they get the money, they decide to keep her in the hole, afraid she might come after them for revenge if they let her out.

Meanwhile, a few of the kids are horror fans and decide to reenact a voodoo ritual on the woman that they saw in a zombie film. Soon after, the kids assume the woman has died but later find she has escaped and they believe her to be a zombie. Undead or not, she is not out for blood against the brats that tortured her.
See, this is why I don’t want kids – they can turn out to be so sadistic! This film takes a supposedly happy-go-lucky, innocent group of kids and makes them the villains. It is so easy for them to torture a human being in the name of greed that you sympathize more with the woman, a violent bank-robber, than with the 12-year-olds. They pelt her with rocks, leave her out in the rain, starve her and taunt her…No wonder she wants to take an ax to them once she escapes!

Yep, this film carries some grim tones, but it isn’t nearly as mean-spirited as say, Eden Lake. Plus, it lightens the tone with early interactions between the Goonie-like gang of characters and the 80′s setting. We get fun references to The Karate Kid, Star Wars, Ghost Busters, that Simon electronic game and even some 80′s music (in Spanish!). Then there are a bunch of horror films you can see in the background in a kid’s room (on VHS!), including Tombs of the Blind Dead, Nightmare on Elm Street, Horror Express and more! So really, despite all their viciousness, this group of kids is pretty likable. Their carefree days of hanging out in their clubhouse, watching horror movies, playing in the woods and riding their bikes come in sharp contrast to the horror they are capable of.

The child actors in the film do a terrific job in A Christmas Tale and never once did I doubt their believability. They all acted and behaved like any 12-year-olds would and even fought amongst themselves as their problems escalated. Their interactions with each other felt very real, like they really were friends in real life. Also, the victim was played very well by Maru Valdivielso. Even though she is a criminal, she still made you feel sorry for her and by the end you did want her to seek revenge on the kids.

Unfortunately, all of the violence we see on-screen is directed at the Valdivielso’s character. She gets pretty trashed in this film and I thought the makeup department did a pretty great job showing her deterioration. The gore is pretty nil except for a impalement, which doesn’t end up being that gory anyway.

The film is beautifully shot by director Paco Plaza (who helped co-direct REC with Jaume Balaguero). Plaza really knows how to capture the feeling of being a kid. The final chase through the empty amusement park is very thrilling and really gives the film some nice tension that earlier scenes lack.

The film does drag on a bit too long in the end and while I appreciated the fun and shocking “second” finale, it felt a little tacked on. Nonetheless, A Christmas Tale was a delight to watch and comes highly recommended!

Available from Amazon!

Eden Lake (2008)

Kids today are an awful bunch. Not only are most of them spoiled brats, but they also don’t seem to care for anyone (or anything) except for themselves. Across the world we are seeing their selfish behavior spreading…and even turning violent. It seems that not a week goes by without a news report of a child (or a group of children) shooting someone, stabbing someone or stealing something. How have supposedly innocent children fallen so far? Some people blame parents, while others blame DNA, ADD, violent video games/movies/music or just the environment the kids were raised in.

Well, I for one can’t stand most kids and think people should stop having so many if they can’t properly care for them. How many times have you been to the grocery store and seen an unruly kid causing a scene while their parent pretends nothing is happening? Take responsibility for your spawn, dammit!

The kids in Eden Lake aren’t much different…mouthing off to their elders, stealing things and generally harassing a young couple, Steve (Michael Fassbender) and Jenny (Kelly Reilly), who have decided to trek into the English countryside for the weekend. Steve picks an isolated spot next to a lake that is set to be developed into a sprawling housing community, but he and Jenny find they have company when they trespass on the hang-out spot of the local teens. At first, the kids only annoy them with loud music and their barking Rottweiler, but things soon escalate to the point where Steve and Jenny are fighting for their lives.

First off, after hearing so many good things about Eden Lake, like how brutal and shocking it was, I was stoked to check it out. Maybe my expectations were too high, but I found the film pretty dull, generic and banal. It’s just your standard “survival” horror flick featuring a couple stuck in the middle of nowhere who are terrorized by the locals. Only instead of crazy backwoods hicks after Steve and Jenny it’s just a group of snot-nosed kids. Even then their only real threat is the ragtag group’s sadistic leader, Brett (Jack O’Connell), who bullies his blokes into hunting down and torturing the couple.

The story, written by James Watkins (who also directed) just kinda limps along, staggering towards a finale that you totally see coming. I did like the fact that the ending wasn’t the typical “happy revenge” one, but by then I was too bored to really care. The script just seemed too generic and could have been lifted from previous horror movies (The Texas Chainsaw Massacre, Just Before Dawn, etc., etc.). The script is also peppered with clichés and I nearly spent the entire time yelling at the screen, “No, stupid, don’t trust HIM!!” or “Don’t run that way!” or “RUN!” The script just felt stale and trite…the only “new” thing with the whole story was the inclusion of the villains being teenagers (this film’s big shtick) – but that just wasn’t enough for me.

There is a fair amount of violence and lots of blood, but I wouldn’t necessarily call Eden Lake a gory film. There are lots of stabbings, beatings, even a child that is lit on fire, with the special FX being quite well done. Still, even a few scenes of shocking violence did little to pique my interest or alleviate my boredom.

I will also say that I did enjoy the direction by James Watkins. The aerial shots over the forest were spectacular and I loved the contrast of colors from the opening scenes (bright and cheery) to the middle and end scenes (dark, muddy colors). Where Watkins fails in the script he (nearly) makes up for in his crisp shots, but it’s just not enough to save the film.

I don’t know what the big fuss over Eden Lake is…to me it is just a run-of-the-mill horror movie that fails to deliver anything new or interesting. I’d recommend it strictly for a rental only.

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Satan's Little Helper (2004)

I love a good Halloween horror movie, and I’m not talking about your usual haunted house flick. No, I’m talking about movies that put you in the spirit to spook, movies that haunt your dreams with visions of Halloween and really inspire you to get in the season.

One such gem of a Halloween film is Satan’s Little Helper, part perverse satire, part vicious horror film and a whole lotta fun!

Young Dougie (Alexander Brickel) is obsessed with a video game called Satan’s Little Helper, in which a character helps Satan send people to Hell. It’s Halloween day, and Dougie and his kooky, spacey mom (Amanda Plummer) are picking up Dougie’s sister Jenna (Katheryn Winnick), who is back home from college just so she can take Dougie trick or treating. Problem is, Jenna’s brought her boyfriend Alex (Stephen Graham) home for the holiday and Dougie is pissed…so he storms off to wander the neighborhood alone, clothed in his own Satan costume.

Dougie comes upon a creepily masked serial killer who is going house-to-house, killing people and then re-arranging them on front lawns and porches as macabre Halloween decorations. Dougie thinks he’s finally found his Master and brings Satan home to meet mom and sis. They think the person under the mask is Alex, trying to please Dougie, so they think nothing of the weird behavior. Dougie goes on a crime and killing spree with “Satan,” thinking it is all just a game…until his “Master” attacks his family that is.

Satan’s Little Helper is a fun, darkly humorous flick that borders on satire. You’re never quite sure if director Jeff Lieberman (who has created other cult classics like Just Before Dawn, Squirm, Blue Sunshine) meant it as a social commentary on kids being desensitized to violence or if he just wanted to have a bloody good time, but whatever the case he succeeds in creating a cult classic!

Though the character of Dougie is unbelievably naïve at times (what kid, no matter how desensitized, would think that an old lady being hung out of a window is all part of a game and not real?), I couldn’t help but get sucked into the imaginative story. The whole Halloween setting really helps with the story, especially due to the fact that everyone is in costume and things are expected to be gruesome. The killer, whom we never learn much about, has it pretty easy since no one can see his face and no one really takes the dead bodies he leaves in his wake to be real. My favorite part is when “Satan” gruesomely kills a black cat (very cringe-worthy in of itself!!) and uses its blood to write “BOO” on the side of a house he’s already decorated with a very real body. A lady with her two trick or treating kids asks our killer to pose for a picture, which he obligingly does!

Now, this is by no means a perfect film. For one, the character of Dougie does grate the nerves with his stupidity. For another, the acting at times isn’t all that great. The film also has a low-budget look (it was shot on digital in 2004) that will turn some viewers away. The story is engaging, but towards the end it starts to drag a little bit. Still, despite these flaws Satan’s Little Helper is an extremely fun and clever horror movie.

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Joshua (2007)

Joshua is a sophisticated, restrained and eerie horror movie that didn’t get the credit it deserved when it hit theaters. Instead of a typical “evil child” flick like The Omen or even Village of the Damned, Joshua shows us a somber and harrowing disintegration of a family at the hands of their young son, Joshua.

The Cairns are a wealthy Manhattan family who has just added newborn Lily to their lives. Mom Abby (Vera Farmiga) and dad Brad (Sam Rockwell) couldn’t be happier with their little bundle of joy, but their son Joshua (Jacob Kogan) is none too pleased at the lack of attention and affection he is getting. The happy family soon begins to go to pieces when Lily begins to constantly cry, driving Abby into a deep despair, which she had also faced when Joshua was a baby. Brad is preoccupied with work and isn’t home that often, though he does what he can to help. The exhausted Abby just can’t cope anymore, especially after being put on crutches after an accident. The peculiar Joshua certainly isn’t helping things, either. After a game of hide-and-go-seek that goes horribly wrong, Abby is hospitalized in a mental health facility. After Brad is forced to take care of Lily and Joshua, he becomes convinced that Joshua is behind the family’s problems. What he fails to realize, however, is the extent of Joshua’s manipulations and how far the child is willing to go.

I fully expected Joshua to be an unoriginal mish-mash of The Omen and Rosemary’s Baby, but I was pleasantly surprised when it avoided any satanic plot devices while still creating a stylish and tense film.

One word of warning, though, as horror fans might be a bit disappointed at the lack of any real “horror” in the film. Just when you think you are going to see just how evil Joshua really is and what he is capable of, the shot either cuts away or moves to the next scene. While I do think this was the appropriate case in the context of the film, I know this will leave many viewers disappointed. Still, the “scares” in Joshua aren’t aimed at making you jump out of your seat. Instead, the film aims to get under your skin, much like the film Bug, and scare you with the possibility of “what if…” What if your child was coldly calculating your own family’s demise? What if he had every angle covered and anticipated your every move? What if your own child framed you for child abuse and no one would believe the real story?

The story, written by David Gilbert and George Ratliff (who also directed), is calculated to move slowly, but under the surface tension continues to mount. Joshua’s true nature is revealed a tiny bit at a time, and so carefully and slowly that it’s easy to forget that this weird child is the instigator in the family’s problems. The story unfolds very naturally until the ending, where things really start to unravel.

The direction and cinematography only reflect the pace and atmosphere of the storyline. At first, everything is airy, bright, clean and cheery. As the story progresses and bad things begin to happen, the lighting dims, the family’s apartment becomes dingy and messy and things become cramped and claustrophobic. This doubles the effect of the tension that continues mounting throughout the film. Furthermore, the cacophonous sounds used throughout the film – discordant piano music, the constant crying of the baby, screaming, banging from the upstairs apartment – adds another layer of discomfort for the viewer.

Equally impressive is the acting in the film. Vera Farmiga is wondrous as the loving Abby who quickly loses her grip on her family and reality. Her transformation from put-together and happy wife to unkempt and desperate mother is shocking and heartbreaking. Sam Rockwell as detached hubby Brad isn’t quite so impressive, but still holds his own, though on a much more subtle scale. The real revelation, of course, is Jacob Kogan as Joshua. He plays his character so well that I actually sided with him at first over the family. His somber and matter-of-fact delivery, devoid of emotion, is extremely effective and eerie.

Joshua may not be a film for everyone, but I certainly enjoyed its slow-building story and the nefarious plans that Joshua had in store for his family. This underrated flick deserves to be seen, but is perhaps enjoyed more by those that enjoy intelligent horror films such as Bug.

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Who Can Kill a Child? (1976)

It is usually very taboo for a film, any film, to show children getting killed. The daring Who Can Kill A Child? decided to break that taboo and prominently features children getting shot and beaten to death. It also shows real footage of suffering children during the horrors of the Holocaust, the Vietnam War, the Korean War and many African civil wars. There is very graphic footage of starving, wounded, dying and dead children that is sad and shocking to see.

The film aspires to show us how children are usually the ones that suffer most during famine, war, natural and man-made disasters. Why shouldn’t children turn on the very people that are supposed to protect them but fail to do so? What would happen if children banded together to stand up against adults and fought back against the many years of cruelty and neglect? Could you really kill a child if you had to, if it meant the little tyke’s life or yours?

An English couple is taking a vacation in Spain. The woman is pregnant and wants some peace and relaxation, so her husband suggests the island of Almanzora, which he has fond memories of. The two set off by themselves in a small powerboat for the island, but when they arrive, it’s not as the husband remembered it. It is utterly devoid of grown-ups, though there are plenty of children frolicking around. Assuming that there is a big fiesta on the other side of the island, the two stay and wait for the grown-ups to come back. Except that there is no one left alive on the island except for the children, who’ve gone mad and murdered all the adults. Can the couple save themselves or will they be forced to kill a child (or two or three) to survive?

Who Can Kill a Child? is a fantastic film made in 1976 and it has recently been released on DVD for the first time by the wonderful Dark Sky Films. With its disturbingly shocking story and beautiful direction by Narciso Ibanez Serrador (who also penned the script from a novel by Juan Jose Plans called “El Juego”) the film works wonderfully. The setting of the Spanish isle of Almanzora is gorgeous. The bright, white Mediterranean-style village, bright blue skies and sparkling waters create a contrasting backdrop to the horrors that unfold on-screen. It’s also interesting to note that most of the killings occur in broad daylight, with the hot sun relentlessly beating down on the victims. Not many films that are set during the day can pull off a creepy vibe, but in Who Can Kill a Child? it works like a charm, making events even more uncomfortable because they occur right out in the open.

Another aspect that makes the film work so effectively is the acting. All of the children (and there are A LOT of them) are wonderful in the film. Every single one of them oozes hatred out of their dark and stormy eyes; just one look and we know they mean business. The acting is so realistic that it’s chilling! Perhaps one of the most effective scenes involves a wife of a fisherman who lives on the other side of Almanzora with her children and their grandmother. Two children from the village “infect” the wife’s children with their pure hatred, and as the woman calls them into dinner, they silently defy her. As we see her perplexed expression, we also see all of the children in the village ominously emerge from the cliffs above her home.

The film does have its faults, most noticeably in believability. After the couple witnesses a little girl who kills an old man by beating him with his own cane and children using a dead body as a piñata, it may seem wise to get the heck off the island! But do they leave? No, they opt to stick around to rescue a Dutch teenager who is hiding out somewhere on the island and keeps tracking them down with phone calls. Another quibble is with the color of the blood, which looks almost orange in color! If you are going to prominently feature children getting killed in your film, at least make it realistic! The “blood” that was used looked more like thick orange-ish paint that was splashed and dribbled on the victims. Still, these are small problems compared to the remarkable story and taboo subject the film deals with.

Dark Sky Films have done a spectacular job with this release – the original 1:8.5.1 anamorphic widescreen has been restored and the picture looks absolutely stunning and clean. I usually don’t mention these technical aspects, but I felt that Dark Sky did such a great job with this film that they deserved mention. This film probably hasn’t looked this good since its original theatrical release!

Who Can Kill a Child? is a superb film that shouldn’t be missed. Its notorious scenes of child murder aren’t all that shocking nowadays, but they still pack a punch, especially when other films usually won’t touch the taboo subject.

Available on Amazon!

The Bad Seed (1956)

For those of you following along at home, you know I’m not a big fan of kids or the whole “parenting” experience. Kids just creep me out and imagining one growing inside of me…ugh…it gives me the willies. Other people can reproduce all they want (though it would probably be a better place if most of the population DIDN’T), but you won’t see me cradling a newborn anytime soon.

My repulsion of children is probably why I love evil kid movies so much. There’s just something so inherently EVIL about kids – their grubby and germ-infested hands, drooling mouths and overall utter lack of hygiene are one thing, but the fact that kids are supposed to be these angelic innocents and, in fact, usually AREN’T is what is so disturbing about them. So, naturally I couldn’t wait to check out 1956’s The Bad Seed, which features Patty McCormack as an 8 year old who is rotten to the core!

Little Miss Rhoda Penmark (Patty McCormack) is the picture of 1950’s perfection. She always minds her P’s and Q’s, curtsies to teachers and guests, always keeps her room tidy, her prim and proper dresses are always spot-free and her tightly braided pigtails never have a hair out of place. She is the perfect little lady and is adored by everyone. Well, almost everyone. When her doting military father, Colonel Kenneth Penmark (William Hopper), must go away to Washington D.C. for a while, Rhoda and her mother, Christine (Nancy Kelly), are left to their own devices. Christine begins to suspect that Rhoda is not the supposed innocent that she pretends to be. When fatal “accidents” start occurring, Christine becomes more suspicious of Rhoda, until she is torn between her love of her daughter and her moral obligation.

I found that The Bad Seed has definitely held up all the years since its release, though it may not be for everyone. Before being turned into a movie, it was originally adapted for stage from a book. The whole film does have a very “play-like” feel to it, like how the actors enter and exit and how it is mostly set in the Penmark’s living room. Yet, it wasn’t until AFTER I watched the film that I learned of its roots in theater and I hadn’t noticed any of the similarities to a stage play while watching the movie, so this certainly didn’t affect my view of the film.

Even though the film is over two hours long, it had more than enough story to keep me interested the entire time. To some it might seem to drag on, but I found it to be a delightful and engaging film. It is dialogue heavy, and it being 1956 when it was released, doesn’t feature any bloody deaths. Still, the increasingly strained relationship between mother and daughter, the escalating criminal behavior of Rhoda and a few twists and turns on “nature vs. nurture” kept me glued to the screen.

The intriguing story was supported by excellent acting. Patty McCormack does an amazing job as the blond-haired, blue-eyed but truly evil Rhoda. At first I thought she was overplaying the sugary sweetness of her character, but as the film continued I could see that the saccharine performance only helped to more clearly juxtapose her character’s black and rotten core. I would not want to get on this child’s wrong side! Nancy Kelly as Rhoda’s mother, Christine, also does an amazing job. Her portrayal of Christine’s mental deterioration is impressive. Her range of emotions, starting at happy at the beginning of the film and nose-diving toward depressive towards the end, is quite a spectacle to watch. You can really sympathize with her increasingly desperate situation. She definitely convinced me not to have kids (as if I needed convincing!).

If you don’t mind dialogue-heavy, black and white films, The Bad Seed is a delightful film in the “evil child” subgenre of horror. If you’ve ever found yourself carefully avoiding playgrounds and edging away from beaming parents and their newborns, you’ll find a lot to love with The Bad Seed.

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