ANNABELLE: CREATION (2017) – Prequel to a Prequel Better Than Expected

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ANNABELLE: CREATION (2017) is a prequel to a prequel.  It’s a prequel to a bad movie which was itself a prequel to a good movie.  Huh?  Let’s try that again.

ANNABELLE: CREATION (2017) is a prequel to ANNABELLE (2014), a pretty bad movie, which was itself a prequel to THE CONJURING (2013), which was a pretty good movie. And where does that leave ANNABELLE: CREATION?  Somewhere in between.  It’s better than the awful ANNABELLE but not quite as good as THE CONJURING.

In terms of quality, it reminded me a lot of another prequel to a bad movie, OUIJA: ORIGIN OF EVIL (2016) which was a surprisingly very good prequel to the lowly OUIJA (2014).  Heck, the two movies even share the same star, child actor Lulu Wilson.

ANNABELLE:  CREATION takes place in the 1950s, as a group of girls from a Catholic orphanage and their sponsor Sister Charlotte (Stephanie Sigman) move into a new home, a farmhouse run by a retired doll maker Samuel Mullins (Anthony LaPaglia) and his ailing bedridden wife Esther (Miranda Otto). The Mullins lost their own daughter twelve years earlier and see opening their home as an orphanage for young girls as a way to instill some life back into their world.

The girls are ecstatic to be living in a new and very large home, but Samuel tells them that there is one room in the house that is always locked and that room is off-limits (of course.)  One of the girls, Janice (Talitha Bateman) enters the room anyway (of course, again) and immediately feels a strange presence there. She realizes it is the ghost of the Mullins’ deceased daughter Bee (Samara Lee). Janice also discovers the doll Annabelle hidden away in a closet, and she experiences a sense of dread. When Janice’s best friend Linda (Lulu Wilson) joins her in the room, she too senses evil, and that’s because there’s a demon inside the Annabelle doll that wants people’s souls.  Yikes!

The girls try to warn everyone in the house that there is something evil residing there with them, but by the time they do, it’s too late.

ANNABELLE: CREATION has a lot of good things going for it. The best part about it is that it delivers some pretty good scares and crafts some memorable horror scenes.  Credit director David F. Sandberg for a job well done when it comes to the scare department. Of course, the Annabelle doll is creepy to begin with, but interestingly enough some of the better scare sequences don’t even involve her. There’s a creepy bit involving a scarecrow, a suspenseful scene on a staircase chairlift, and yet another one in a creaky old-fashioned dumb-waiter.

Then there’s the demon. One of the more interesting parts of ANNABELLE: CREATION is that it sheds more light on the background of the Annabelle doll.  It seems that the instigator of all this evil surrounding Annabelle is a demon possessing the doll that wants people’s souls.  We catch glimpses of this demon, and he’s pretty cool looking, which is no surprise since he’s played by Joseph Bishara who’s becoming quite the expert at this sort of thing. Bishara played a demon in both the INSIDIOUS and THE CONJURING movies. He was most memorable in INSIDIOUS (2010) as the Lipstick-Face Demon.

There are lots of cool scares here, and that’s a good thing.  What’s not so good is the pacing.  There are a lot of slow parts in ANNABELLE: CREATION, lots of scenes where characters slowly move about in dark hallways, the kinds of scenes that drive me nuts in horror movies.  These types of scenes don’t build suspense. They put audiences to sleep.

And the film is just begging for a more frenetic pace during its third act.  While the movie’s conclusion isn’t bad at all, it never becomes that go-for-the-throat ending that makes audiences squirm and scream.

Director Sandberg does make full use of the creepy farmhouse interiors.  Most of the film takes place in dark rooms and hallways, and the atmosphere is sufficiently spooky and haunting.  The camera also gets in close, so much so you can almost smell the wood of the old hardwood floors.

Sandberg also directed LIGHTS OUT (2016), an okay horror movie that I wasn’t all that crazy about. I enjoyed ANNABELLE: CREATION more.

The screenplay by Gary Dauberman isn’t bad.  It tells a decent story and does a good job with its characters, who come across as real and likable.  I liked some of the reveals about Annabelle, and I enjoyed the characters, from the girls to Sister Charlotte to Samuel and Esther Mullins.  The dialogue isn’t always fresh, and the story Esther Mullins tells about what happened to her daughter is full of dumb lines and clichés.

Dauberman also wrote ANNABELLE (2014), and the second time seems to have been the charm, as his screenplay here for ANNABELLE: CREATION is much better and tells a far more interesting story than the previous film.  Dauberman also wrote the screenplay to the upcoming adaptation of Stephen King’s IT (2017), due out in September.

Talitha Bateman as Janice and Lulu Wilson as Linda are both excellent.  It was especially fun to watch them go through different levels of emotion.  At first, they’re joyful about their new home, then there’s quiet unease and building fear, and then flat-out visceral horror as the threat becomes real. And once the demon becomes involved, there’s also some icy cold evil, which Bateman does well.

This is already the third horror movie for young Lulu Wilson, as she previously starred in OUIJA: ORIGIN OF EVIL (2014) and DELIVER US FROM EVIL (2014).

The rest of the girls in the film are also very good.

I also enjoyed Stephanie Sigman as Sister Charlotte.  She makes the nun a real person and prevents her from becoming a cliché.  Likewise, Anthony LaPaglia does the same for Samuel Mullins.  At times, LaPaglia plays things a bit too mournful, as he just sort of stares gloomily at the camera, but for the most part he does a nice job bringing Samuel Mullins to life.

Miranda Otto as Esther Mullins is in the film less than LaPaglia, and as a result has less of an impact, and unfortunately towards the end of the film she does get some of the worst dialogue in the movie.

In a small role, Mark Bramhall has some fine moments as Father Massey, the priest who drives them to the Mullins’ farmhouse and who returns later in the movie. He also gets one of the more humorous lines in the film.

The story ends with a solid tie-in to ANNABELLE.  The way screenwriter Gary Dauberman and director David F. Sandberg tie the two movies together is creative and satisfying.

I liked ANNABELLE: CREATION much better than I expected I would.  It’s a decent horror movie that rises above the muck of inferior sequels and prequels, yet it’s not quite as good or at the level of an INSIDIOUS or THE CONJURING, those horror movies that are destined to be remembered for years to come, the ones you want to watch over and over again.

I guess that would be asking too much from a prequel to a prequel.

—END—

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

 Ebook version:  $4.99.  Available at http://www.neconebooks.com.  Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For The Love Of Horror cover

Ebook version:  $4.99.  Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.  

 

 

 

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THE DISAPPOINTMENTS ROOM (2016) – Quiet Ghost Story Drama Doesn’t Stand Out

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What if you made a stylish horror movie but forgot to make it scary?

You’d have THE DISAPPOINTMENTS ROOM (2016),  a horror movie now available on Netflix Streaming.

Dana Barrow (Kate Beckinsale), her husband David (Mel Raido), and their young son Lucas (Duncan Joiner) move into their new home, an elegant manor in the countryside.  They are looking for a fresh start in life as they recently suffered a devastating tragedy.

Dana is an architect and plans to work on the house, while David, when he’s not off on business trips, spends his days with their son Lucas.  Dana discovers a mysterious room on the top floor of the house, a room that is not in the home’s original plans.  When she starts hearing strange noises in the middle of the night, as well as catching glimpses of people inside the house, she begins to suspect the house is haunted.

She learns that the room on the upper floor of their home is most likely a “disappointments” room, a place where a century before families would hide children they deemed as “disappointments,” children suffering from either physical deformities or mental disorders.

When the spiritual and physical worlds collide, and young Lucas’ life is threatened, Dana takes matters into her own hands to save him.  But her efforts are hindered by her own psychological issues, as she struggles to distinguish between what is real and what is imagined.  Is Lucas really in danger?  Or is it all just in her head?

The biggest knock against THE DISAPPOINTMENTS ROOM is that it is yet another haunted house/ghost story movie.  There have been so many of these movies of late, unless it’s the best I’ve ever seen, a film with this plot has a lot going against it because it’s extremely difficult to keep fresh at this point.  And THE DISAPPOINTMENTS ROOM is not fresh.  What it has to offer in terms of ghost story plot is nothing new, and this definitely works against the movie.

Early on, there were parts of this film that reminded me of the classic chiller THE CHANGELING (1980) starring George C. Scott, but that film benefitted from some genuine scares and a shocking reveal.  THE DISAPPOINTMENTS ROOM has neither.

What it does have are solid acting performances and a steady directorial hand by director D.J. Caruso.

Caruso, who also directed the teen adventure I AM NUMBER FOUR (2011) and the thriller DISTURBIA (2007), sets the mood early on with some creepy scenes, like the strange black dog that keeps showing up outside the home, and the eerie spectral figures which Dana sees.  And the film looks good throughout, even as the story ultimately fails to build to a satisfying climax.

The screenplay by director Caruso and Wentworth Miller [an actor known mostly for his starring role on the TV series PRISON BREAK (2005-2009) and the current mini-series PRISON BREAK: RESURRECTION (2017)] adds the disappointments room to the haunted house plot, and early on this was enough to hold my attention, but as the story evolves, and we learn more about the events which led to the haunting of this house, things become less interesting.

The potential for a nifty psychological thriller is certainly there but it doesn’t quite happen because the film only hints at the darkness inside Dana’s head.  It could be ghosts.  It could be imagined.  It could be a little bit of both.  The film never really makes up its mind, and it’s a weaker vehicle for it.

The film definitely plays like a dark drama rather than a horror movie.  As such, it’s a pretty good example of quiet horror.

But what it fails to do is reach the next level.  The climax of the film is certainly disturbing, but then what follows is a standard “I’ve got to save my son” sequence  which is ultimately a let down, and this is followed by a tepid ending which doesn’t do the movie any favors.

But as I said the acting is solid.  I really enjoyed Kate Beckinsale in the lead as Dana.It was so much more fun to watch her here than in those awful UNDERWORLD movies.  She makes Dana believable, and she seems like a woman with a tortured past who is now thrust into a ghost story conundrum.  That being said, considering what Dana believes she did in the past, her character should have been even more fragile and unhinged than she is here.

There’s a parallel between Beckinsale’s Dana and the father of the child in the disappointments room, Judge Blacker (Gerald McRaney).  But just how alike they are is never satisfactorily explored.  Like so many other things in this movie, it’s only hinted at.

Mel Raido does a nice job as Dana’s level-headed husband, David.  He’s the voice of reason who continually works to keep his wife grounded in reality.

Gerald McRaney doesn’t do much more than look menacing as the ghostly Judge Blacker, but he does it so well.

THE DISAPPOINTMENTS ROOM looks better than a lot of the other recent haunted house/ghost story movies of late, and it doesn’t suffer from the atrocious plot twists that some of those other flicks have, but ultimately it doesn’t really add anything of note to make it stand out.

And while it does provide a rather nasty revelation towards the end, what follows is a by-the-numbers conclusion.

All in all, THE DISAPPOINTMENTS ROOM is a ghost story drama that will hold your interest for a while before it ultimately fizzles, settling gently into its quiet world of stylized mediocrity.

—END—

 

 

 

 

 

 

 

 

RINGS (2017) – A Complete Waste of Time

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Here’s a look at RINGS (2017), another theatrical horror movie release from early 2017. Again, for a year that so far has had some pretty cool horror movies, it didn’t start out that way.

In RINGS, the main character is a young woman Julia (Matilda Lutz) whose boyfriend Holt (Alex Roe) goes off to college where he becomes a participant in an experiment run by his professor Gabriel (Johnny Galecki).  Gabriel has in his possession the infamous videotape from THE RING (2002) and he’s having his students watch the tape to learn more about it. The way Gabriel sees it, as long as his students copy the tape and have someone else watch it, they will be saved.  And so on, and so on. Of course, that’s a lot of “so ons.”

When Julia receives a strange message from Holt’s phone, she decides to investigate.  Soon, she and Holt are searching for clues to learn more about Samara, the mysterious woman in the video, and their search takes them to a small town where they meet an equally mysterioius blind man Burke (Vincent D’Onofrio) who may have the answers they are looking for.

And that’s the story folks.  Sound interesting?  Not  to me either!

I found RINGS incredibly dull and boring, so much so, that it was really difficult to sit through this one.  The biggest offender was the storytelling.  The screenplay by three writers, David Loucka, Jacob Estes, and Akiva Goldsman really struggles to tell a story.  The movie gets off to such a disjointed start it’s laughable.  We’re on a plane at first, there’s an incident, then we’re at some sort of yard sale we meet professor Gabriel, and then we jump to a bedroom with Julia and Holt, and then Holt  goes off to college, and blah blah blah, and eventually after all this meandering we realize that the main character in this one is Julia, but you wouldn’t know it by the way it starts off.

The story itself about the videotape and Samara was a complete snooze.  The most interesting part of the entire story happens in the final few minutes of the movie, and it deals with technology, and what would happen with today’s social media and just how fast videos can be shared today.  Had this been what this movie was about, they may have had something interesting here.

Director F.  Javier Gutierrez goes through the motions here.  No memorable images or scares are to be found.

I did enjoy the peformance by lead actress Matilda Lutz as Julia. She was good here and I was actually interested in her character, even if she was stuck in a dull and predictable storyline.  Lutz is an Italian actress and hopefully we’ll see more of her in future films.

Alex Roe was pretty standard as hunky hero Holt.  He was rather plain and boring.

And while it’s always fun to watch Vincent D’Onofrio, his role here really doesn’t amount to all that much.  I mean, it’s ultimately an important role in terms of plot, but he could play it in his sleep.

Sadly, I’ve reached the point where I dread seeing horror movies at the movies these days.  The majority of these flicks are flat out awful.  RINGS is no exception.  Don’t bother with this one.  It’s a complete waste of time.

—-

Of course, when I wrote this review in February 2017, I hadn’t yet seen GET OUT (2017), A CURE FOR WELLNESS (2017), or THE BELKO EXPERIMENT (2017), three excellent horror movies, so the year definitely got better in terms of horror movie releases.

—END—

 

 

 

 

 

 

THE HORROR JAR: Music By Jerry Goldsmith, PART 2

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Welcome back to THE HORROR JAR, the column where we look at lists pertaining to movies, particularly horror movies.  Today it’s Part 2 of our look at the career of composer Jerry Goldsmith.

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Jerry Goldsmith

In Part 1, we looked at films Goldsmith scored between the years of 1957 and 1983.

On to Part 2!

And again, this is just a partial list of Goldsmith’s 258 movie credits, concentrating mostly on his genre films.  We continue the list now, picking up where we left off, in 1984.

GREMLINS (1984) – No water, no food after midnight, and no bright lights, but plenty of Jerry Goldsmith music in this horror comedy by director Joe Dante.

SUPERGIRL (1984) – Before the TV show, there was this movie, starring the lovely Helen Slater as Supergirl.  Slater actually appears on the new SUPERGIRL television series as Eliza Danvers.  Pretty bad movie, in spite of the presence of Faye Dunaway, Peter O’Toole, and Mia Farrow.

RAMBO:  FIRST BLOOD PART II (1985)- Following up on his work on Sylvester Stallone’s FIRST BLOOD (1982), Goldsmith provides the music again in this bigger and badder sequel.

LEGEND (Director’s Cut) (1985) – Ridley Scott’s fantasy fairy tale about a youth (Tom Cruise) battling a demon (Tim Curry).  Goldsmith’s music appears only in the re-issued director’s cut.  Tangerine Dream provided the electronic music in the theatrical release.

INNERSPACE (1987) – Dennis Quaid gets miniaturized and injected into the body of Martin Short in this action comedy by director Joe Dante, a variation of FANTASTIC VOYAGE (1966).

RAMBO III (1988) – completes the original  Sylvester Stallone Rambo trilogy.

LEVIATHAN (1989) –  Underwater monster adventure starring Peter Weller and Richard Crenna.

WARLOCK (1989) – Horror fantasy starring Julian Sands as a— warlock.

STAR TREK V:  THE FINAL FRONTIER (1989) – Goldsmith’s second trip to the STAR TREK universe, after scoring the first movie in the series, STAR TREK – THE MOTION PICTURE (1979).  This is the one directed by William Shatner and it’s usually on fan’s “worst of” lists when talking about the movie series, but other than some silliness early on, this one isn’t half bad and actually gets better as it goes along.  1989 was another busy year for Goldsmith as he wrote the music scores for four movies this year.

TOTAL RECALL (1990) – Provides the music for this Arnold Schwarnegger vehicle about a man with a virtual identity crisis on Mars.  Directed by Paul Verhoeven.  Based on a short story by Philip K. Dick.

THE VANISHING (1993)- Abduction thriller starring Kiefer Sutherland and Jeff Bridges.  Not as good as the original Dutch/French version of THE VANISHING (1988), the film on which this was based.

THE SHADOW (1994)-  Alec Baldwin is The Shadow.  Meh.

THE RIVER WILD (1994) – Thriller with Meryl Streep protecting her famly from a pair of baddies on a raging river.  Kinda exciting back in the day.

THE GHOST AND THE DARKNESS (1996) – Adventure tale starring Michael Douglas and Val Kilmer about the hunt for two maneating lions.

STAR TREK:  FIRST CONTACT (1996)- Second and best of the STAR TREK NEXT GENERATION movies has Captain Picard (Patrick Stewart) and the rest of his Enterprise crew taking on their arch enemies, The Borg.

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L.A. CONFIDENTIAL (1997) – Classic thriller about police corruption in 1950s Los Angeles.  Starring Kevin Spacey, Russell Crowe, Guy Pearce, and Kim Basinger.

STAR TREK:  INSURRECTION (1998) – Third Next Generation STAR TREK film and by far the quietest of the series.  Picard and company discover a Federation plot against a peaceful planetary people, and that’s not okay with them!  Like watching a mediocre episode of the series. No sense of cinematic urgency at all.

THE MUMMY (1999)- Big budget re-imagining of Universal’s THE MUMMY by writer/director Stephen Sommers.  Starring Brendan Fraser, this one plays like an Indiana Jones flick rather than a horror movie.  Fun, but as a horror film, it’s ultimately disappointing.

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THE HAUNTING (1999)- Dreadful remake of the 1963 film THE HAUNTING, itself based on the Shirley Jackson novel The Haunting of Hill House.  With Liam Neeson, Catherine Zeta-Jones, Owen Wilson, and Bruce Dern.  Pretty awful.

HOLLOW MAN (2000)- Speaking of pretty awful, this re-imagining of THE INVISIBLE MAN starring Kevin Bacon and Elisabeth Shue is as awful as a horror movie can get.  Directed by Paul Verhoeven.

STAR TREK:  NEMESIS (2002) – Final Next Generation STAR TREK film and one of its best, although that’s not saying much since the STAR TREK: THE NEXT GENERATION movies were never as good as the STAR TREK:  THE NEXT GENERATION TV show.  This one features Tom Hardy and Ron Perlman in the cast.

LOONEY TUNES:  BACK IN ACTION (2003) – Goldsmith’s final feature film music score, this goofy movie features Bugs Bunny, Daffy Duck, and friends intermingling with live action actors, including Brendan Fraser, Jenna Elfman, Steve Martin, and Timothy Dalton.

The movies listed here and in Part 1 of this blog post are only a partial listing and do not include all of Goldsmith’s remarkable 258 music score credits.  In addition to these movies, Jerry Goldsmith also wrote the music for many TV shows including THE TWILIGHT ZONE (1959-61), THRILLER (1960-62), THE MAN FROM U.N.C.L.E. (1964-68), POLICE STORY (1973-79), THE WALTONS (1972-81), STAR TREK:  THE NEXT GENERATION (1987-94), and STAR TREK:  VOYAGER (1995-2001), to name just a few.

His was a long and varied career, and if you watch lots of movies, you can’t help but be familiar with his music, as his career spanned five decades.

Jerry Goldsmith passed away on July 21, 2004 at the age of 75 after a battle with cancer.

Jerry Goldsmith, February 10, 1929- July 21, 2004.

Thanks for reading everybody!

—Michael

 

 

 

 

 

 

 

 

 

 

 

 

 

THE HORROR JAR: Music by Jerry Goldsmith, Part 1

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Welcome back to THE HORROR JAR, that column where we look at lists about movies, especially horror movies.  Today we look at genre movies scored by Jerry Goldsmith, and there are a lot of them.

Jerry-Goldsmith

Jerry Goldsmith

Looking back at Jerry Goldsmith’s career, it’s amazing to see just how many horror and science fiction films he wrote the music for, and how memorable these scores are.  There are so many, in fact, that I’ve divided this column into two parts.

Here’s a partial look at his prolific career, concentrating mostly on his genre credits:

BLACK PATCH (1957) –  Jerry  Goldsmith’s first film score, a western written by tough guy actor Leo Gordon.

SEVEN DAYS IN MAY (1964) – provided the music for this taut nuclear war thriller directed by John Frankenheimer and starring Burt Lancaster, Kirk Douglas, and Fredric March.  It’s DR. STRANGELOVE without the laughs.

THE SATAN BUG (1965)- Goldsmith’s first genre credit, the science fiction thriller about germ warfare

PLANET OF THE APES (1968) – This Jerry Goldsmith score remains one of my favorites.  The unusual music here really captures the feel of the Ape world and adds to the “madhouse!” emotions which Charlton Heston’s Taylor has to endure at the hands of his captors.  Classic.

THE ILLUSTRATED MAN (1969) – Science fiction film based on the short story collection of the same name by Ray Bradbury and starring Rod Steiger.

THE MEPHISTO WALTZ (1971) – Obscure horror film with Alan Alda as a pianist who finds his soul in the hands of a scheming satanist.

ESCAPE FROM THE PLANET OF THE APES (1971)-  Goldsmith goes ape again as he scores the third film in the series, a creative flick in which apes Cornelius (Roddy McDowall) and Zira (Kim Hunter) travel back in time to present day Los Angeles.

THE OTHER (1972) – classic 1970s horror movie scripted by Tom Tryon.

THE REINCARNATION OF PETER PROUD – (1975) – 1970s horror flick starring Michael Sarrazin, Jennifer O’Neil, and Margot Kidder.

THE OMEN (1976)- the big one, probaly Goldsmith’s most powerful score, and the only one for which he won an Oscar.  Still a very scary movie today, and Goldsmith’s music is a major reason why.

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LOGAN’S RUN (1976) – classic science fiction film from the 1970s starring Michael York and Farrah Fawcett.

DAMNATION ALLEY (1977) – Much-hyped science fiction movie about survivors in a post-apocalyptic world starring George Peppard and Jan-Michael Vincent was a major flop upon its release, as it was completely overshadowed by another science fiction release that same year, a little film called STAR WARS (1977).

COMA (1978) – Horror thriller written and directed by Michael Crichton about sinister goings-on starring Genevieve Bujold and Michael Douglas.

CAPRICORN ONE (1978) – another major flop from the 1970s, this thriller about a fake space mission to Mars featured a strong cast which included Elliott Gould, James Brolin, Brenda Vaccaro, Sam Waterston, O.J. Simpson (remember when he was that likable former football star who went on to make movies?), Hal Holbrook, Karen Black, and Telly Savalas.

DAMIEN:  OMEN II (1978) – Goldsmith’s back at it again, composing yet another horrific score in this OMEN sequel that, while nowhere near as good as the original, remains highly entertaining today.  Starring William Holden and Lee Grant.

THE SWARM (1978)- One of the worst movies of the decade and certainly one of the worst “disaster” movies ever made.  This tale of a swarm of killer bees attacking the United States was directed by Irwin Allen who must have been punch drunk over the success of his previous hits THE POSEIDON ADVENTURE (1972) and THE TOWERING INFERNO (1974) when he made this turkey.  With an “all-star” cast which included Michael Caine, Katharine Ross, and Richard Chamberlain, and many many unforturnate more.  It’s hard to believe that this storyline– deadly killer bees– used to be considered real and scary.  I can’t believe I actually saw this one at the movies!

THE BOYS FROM BRAZIL (1978) – Excellent thriller about a Nazi hunter (Laurence Olivier) on the trail of a fanatical Nazi (Gregory Peck) with plans to resurrect the Third Reich.

MAGIC (1978)- The Anthony Hopkins horror classic about a ventriliouost and his evil dummy.  1978 was a busy year for Jerry Goldsmith, as MAGIC was the sixth film he scored that year!

THE GREAT TRAIN ROBBERY (1979) – Period piece fun with Sean Connery and Donald Sutherland robbing a train in Victorian England.  An underrated gem by writer/director Michael Crichton.

ALIEN (1979)- Goldsmith just keeps on rolling here with his chillingly effective score for this science fiction classic which launched the career of Sigourney Weaver.

STAR TREK:  THE MOTION PICTURE (1979) – Goldsmith’s score for the first STAR TREK movie is my personal favorite.  Kirk (William Shatner), Spock (Leonard Nimoy), Dr. McCoy (DeForest Kelley) and the rest of the Enterprise crew hit the big screen for the first time with mixed results.  It’s highbrow science fiction to be sure, but it’s all so slow paced.  This one continues to grow on me over the years, but I loved Goldsmith’s music from the get-go.  Sure, his iconic new theme went on to become the main theme for STAR TREK: THE NEXT GENERATION, but that’s not what I love about this score.  It’s all rather dark and ominous, a powerful score that remains the finest music score in the STAR TREK universe.

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THE FINAL CONFLICT (1981)- the final film in the OMEN trilogy, and by far the weakest, even with a young Sam Neill cast as the adult Damien.

OUTLAND (1981) – Interesting science fiction movie with Sean Connery playing a Marshall on a mining colony on Jupiter’s moon tangling with some baddies without help from its inhabitants.  It’s HIGH NOON (1951) in space.

POLTERGEIST (1982) – A big hit in 1982, I’ve never liked this horror vehicle by Steven Spielberg and Tobe Hooper.

FIRST BLOOD (1982) – provides the music for Sylvester Stallone’s first foray as Rambo.

PSYCHO II (1983) – provides yet another very effective music score in this long awaited sequel to the Alfred Hitchcock classic, once again starring Anthony Perkins as the twisted tormened Norman Bates.  It’s certainly not PSYCHO (1960) but this thriller by director Richard Franklin really isn’t all that bad.  Vera Miles also reprises her role from the original.

TWILIGHT ZONE:  THE MOVIE (1983) – Muddled big screen treatment of classic Rod Serling TV series, a real head-scratcher when you consider the talent involved – Joe Dante, John Landis, George Miller, and Steven Spielberg each directed a segment and yet this film still is a clunker.

And that’s all the time we have.  Tune in for Part 2 of THE HORROR JAR:  Jerry Goldsmith when we look at the second half of Goldsmith’s career.  Coming soon!

To be continued—.

 

 

 

 

 

 

 

AFTER MOVIES – LIST SOME TV SHOWS HE SCORED

HORROR MOVIES: Best and Worst of 2015

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Here’s the list of horror movies I saw in 2015, from first to worst:

It Follows poster

IT FOLLOWS – *** – by far, the best horror film of the year.  If you see one horror movie this year, make it this one.  It plays like a John Carpenter film from the 1970s.  Probably my favorite thing about this movie by writer/director David Robert Mitchell is its plot which is unlike most other horror films.  Not gory at all, but suspenseful and captivating throughout.  Very stylish.

THE VISIT- *** – Who knew this M. Night Shyamalan movie about two children visiting their increasingly odd grandparents would be so good?  After a string of misfires, Shyamalan pushes all the right buttons with this one, capturing the perfect blend of horror and humor.

krampus-2015-movie-poster

KRAMPUS – *** – another flick I expected not to like that turned into one of the better horror movies of the year.  This Christmas horror movie in spite of its potentially ridiculous storyline gets the horror right and makes the most of its creepy images and suspenseful scenes.  It’s a holiday comedy with a serious horrific attitude.  Check this one out.

JURASSIC WORLD – ***- technically not really a horror film, but it does contain some angry hungry dinosaurs.  This one is mostly light in tone, but I found it entertaining throughout, and I really enjoyed Chris Pratt’s performance.

THE WOMAN IN BLACK 2:  THE ANGEL OF DEATH- ** 1/2 – I liked this sequel to the well-made THE WOMAN IN BLACK (2012).  I enjoyed the atmosphere and the cinematography more than the story.  A Hammer Film.

UNFRIENDED – ** 1/2 – I thought I would hate this one, but the gimmick of having all the action appear on a computer screen actually works, mostly because audiences today all use computers/laptops/smartphones  and so watching this type of screen seemed perfectly natural, even if its story of high school friends tormented online isn’t very compelling.  Not half bad.

THE GREEN INFERNO – ** 1/2 – not my cup of tea, but this Eli Roth tale of cannibalism actually features likable characters and a decent story.  NOT FOR THE SQUEAMISH.

VICTOR FRANKENSTEIN – ** – ultimately disappointing tale of Frankenstein, told from the perspective of Igor.  So why not call this one Igor?  Best part is Daniel Radcliffe’s performance as Igor.  Tries to be upbeat and action-oriented, a la the Robert Downey Jr. Sherlock Holmes movies, but doesn’t really work.

MAGGIE – ** – Arnold Schwarzenegger in a zombie movie?  Is it full of brutal kills and big gun violence?  Not at all.  This is actually a low-key drama about Arnold caring for his teen daughter who’s slowly turning into a zombie.  Slow moving and quiet.  Worth it if you’re in the right frame of mind.

maggie poster

CRIMSON PEAK- ** – good looking horror movie is undone by a dumb story that ultimately makes little sense.  The main character in this ghost story is supposed to be a strong smart heroine, and yet she’s the only person in the movie who can’t see the danger around her.

INSIDIOUS CHAPTER 3- ** – didn’t like this third chapter in the INSIDOUS series at all.  I’m just not a big fan of prequels, especially when they’re as poorly written as this one.

THE LAZARUS EFFECT – * 1/2 -weak horror movie about a  “Frankenstein”- like experiment to reanimate the dead.  If only this movie could be reanimated.

SINISTER 2 – * 1/2 – utterly horrible sequel.    Story makes little sense nor is it scary.

THE GALLOWS – * – my pick for the Worst Horror Movie of the Year.  How dumb is this one?  Well, the main plot point is that in honor of the 20th anniversary of a high school play gone wrong— a student was accidentally hanged to death on stage- the school decides to put on the same play again.  Duh!  Needless to say, someone isn’t very happy about this decision, and once again more students turn up dead.  Unfortunately none of them were responsible for the script.

There you have it.  My list of horror movies from 2015.

Thanks for reading!

—Michael

 

 

IN THE SPOOKLIGHT: THE LEGEND OF HELL HOUSE (1973)

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Here’s my latest IN THE SPOOKLIGHT column, on THE LEGEND OF HELL HOUSE (1973), published in the December 2015 edition of THE HWA NEWSLETTER, the Official Newsletter of the Horror Writers Association.
Enjoy!
—Michael
IN THE SPOOKLIGHT
BY
MICHAEL ARRUDA
LEGEND OF HELL HOUSE
Not only is December a great time to watch a haunted house movie, but the plot of today’s movie ­ THE LEGEND OF HELL HOUSE (1973) ­­­ actually takes place in December. How cool is that? Okay, so I’m easily amused.
I actually saw THE LEGEND OF HELL HOUSE when it was first released at the drive­in as part of a double feature with THE OTHER (1972). I was nine years­old when my parents took my younger brother and me to see this double bill, and while I slept through THE OTHER, I remember enjoying HELL HOUSE. So, there was certainly some nostalgia watching this one again recently on Netflix Streaming, especially since I hadn’t seen it in years.
Its tale of an investigative team probing a haunted house, trying to prove or disprove the existence of ghosts, reminds me an awful lot of Shirley Jackson’s “The Haunting of Hill House” and the movie THE HAUNTING (1963) which is based on the Shirley Jackson story. But it’s actually based on the novel Hell House by Richard Matheson, who also wrote the screenplay for the movie.
In THE LEGEND OF HELL HOUSE, Dr. Barrett (Clive Revill) a physicist, leads the examination into Hell House. His team includes his wife Ann (Gayle Hunnicutt), a psychic Florence Tanner (Pamela Franklin), and a physical medium, Benjamin Fischer (Roddy McDowall), who has the distinction of being the only survivor from a previous investigation into the house.
legend of hell house - team
So, do ghosts exist or not? Dr. Barrett seems hell bent on proving once and for all that they do not exist, but the spirit that occupies Hell House has other ideas.
THE LEGEND OF HELL HOUSE is ghostly fun from start to finish. It’s full of spooky atmosphere and contains plenty of creepy scenes.
Director John Hough, fresh off his horror hit for Hammer Films, the vampire film TWINS OF EVIL (1971) starring Peter Cushing, pretty much strikes gold again. Both of these films are excellent horror movies. Hough would go on to direct the Walt Disney classic ESCAPE FROM WITCH MOUNTAIN (1975), as well as its sequel RETURN FROM WITCH MOUNTAIN (1978) starring Christopher Lee. Hough would also direct Peter Cushing’s final movie, BIGGLES: ADVENTURES IN TIME (1986).
Roddy McDowall leads a fine cast. McDowall is excellent here as Benjamin Fischer, the man with the most insight into Hell House since he had been there before. I was already a Roddy McDowall fan when I saw this at the movies in 1973 because of the PLANET OF THE APES films. THE LEGEND OF HELL HOUSE was probably the first movie where I actually got to see his face!
So that’s what Cornelius looks like!
Clive Revill is authoritative as physicist and lead investigator Dr. Barrett, and Gayle Hunnicutt is memorable as his wife Ann. Pamela Franklin makes for a beautiful and oftentimes vulnerable psychic Florence Tanner. Even Michael Gough shows up as a corpse, which is a nice way of keeping this Hammer favorite from his signature overacting!
All four of the main characters go through changes since they are all affected one way or another by the spirit occupying Hell House. McDowall’s character probably fares the best, as he seems to
be best equipped to fend off the ghost.
Clive Revill’s Dr. Barrett, on the other hand, the supposed the leader of the team, is influenced by
the Hell House spirit pretty much from the get­go, as he quickly becomes irritable, angry, and worst of all confused. Sure, these could just be personality flaws, but more likely, they’re the work of the ghost.
Barrett’s wife Ann becomes sexually aroused and continually makes advances towards Ben Fischer, while psychic Florence senses who the ghost is but no one on her team seems to believe her, probably because she too exhibits odd behavior.
Is this assembled team just a group of oddballs? Or are they all influenced and infected by the supernatural presence residing at Hell House? You know the answer to that question, and that’s what makes THE LEGEND OF HELL HOUSE so much fun.
The prevailing feeling throughout THE LEGEND OF HELL HOUSE is one of uncertainty and doubt. The supernatural entity makes its presence known immediately, and the characters all become affected quickly, even if they don’t realize it.
THE LEGEND OF HELL HOUSE is an excellent horror movie and is yet another quality horror film from the 1970s, a decade which is chock full of horror classics. Sure, there are the big budget  classics like THE EXORCIST (1973), JAWS (1975), THE OMEN (1976) and ALIEN (1979),  but it’s also the decade of THE LAST HOUSE ON THE LEFT (1972), THE TEXAS CHAINSAW MASSACRE (1974) and HALLOWEEN (1978). It’s also the decade of films
like THE FOOD OF THE GODS (1976), THE ISLAND OF DR. MOREAU (1977), and KINGDOM OF THE SPIDERS (1977), low budget films that didn’t become huge hits but provided quality horror entertainment all the same. THE LEGEND OF HELL HOUSE falls into this latter category.
As we look back today at the 1970s, a decade famous for its bad hairstyles and disco music, it’s quite clear that for horror movie fans, it’s one of the best decades ever. There are a lot of really good horror movies made in the 1970s.
If there’s one weakness regarding THE LEGEND OF HELL HOUSE it’s the film’s plot. Its haunted house tale is nothing I haven’t seen before, and even though the film has fun with it, and it all works, at the end of the day, it’s still just another haunted house story with all the similar
trimmings.
What makes THE LEGEND OF HELL HOUSE stand out among other films of its type is a talented cast, strong direction, and a decent script by Richard Matheson.
As you make the rounds this holiday season, visiting family and fiends­­­ er, friends, don’t forget  to stop by HELL HOUSE. There’s someone there who’s dying to see you.
­­­END­­­