IN THE SPOOKLIGHT: ISLE OF THE DEAD (1945)

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isle of the dead posterI love the Val Lewton-produced horror movies from the 1940s.

Lewton produced a bunch of low-budget horror pics that impressed with style and atmosphere and have become some of the classics of the genre, films like CAT PEOPLE (1942) and I WALKED WITH A ZOMBIE (1943). He also produced three movies starring Boris Karloff, films that are among the best in Karloff’s career, THE BODY SNATCHER (1945), BEDLAM (1946), and the subject of today’s column, ISLE OF THE DEAD (1945).

Sadly, Val Lewton’s life and career were cut short when he died of a heart attack on March 14, 1951, at the age of 46.

ISLE OF THE DEAD features one of my favorite Boris Karloff roles. Karloff plays General Nikolas Pherides, a general in the Greek army who goes by the nickname “The Watchdog.” He’s cold, ruthless, and nothing gets by him.

The story takes place on a Greek island in 1912, during the Balkan War. There’s a lull in the fighting, and General Pherides takes American reporter Oliver Davis (Marc Cramer) to the Isle of the Dead to pay respects to the General’s deceased wife, who is interred there. They discover that the grave has been disturbed, and when they hear a woman singing in the distance, they follow the voice to investigate and come upon a house full of people, a guest house run by a retired archeologist named Dr. Albrecht (Jason Robards, Sr.).

Albrecht invites the General and Oliver to join them. When the General questions them about the desecrated grave, Albrecht explains that years ago the islanders plundered many of the graves in search of valuable Greek artifacts. But Albrecht’s superstitious housekeeper offers a different explanation. She tells the General that it’s the work of the vorvolaka, evil spirits, and that one of the guests, the young and pretty Thea (Ellen Drew) is in fact a vorvolaka. The housekeeper tells the General that people there will die because of Thea.

The General scoffs at this suggestion, but when the guests do indeed start dying, and the housekeeper continually accuses Thea, the General changes his tune. He enters his “Watchdog” mode and declares that he will get to the bottom of what’s going on and protect everyone there. When a doctor (Ernest Deutsch) explains that it is the plague and that they must be quarantined, the General makes it his mission to prevent anyone from trying to leave the island. As more people die and the housekeeper’s accusations against Thea continue, the General finds himself swayed to the point where he himself believes that the true culprit here isn’t the plague but the vorvolaka.

ISLE OF THE DEAD is blessed with the same strengths of all the Val Lewton movies, an intelligent script and an almost palpable eerie atmosphere.

The screenplay by Ardel Wray, who also wrote the screenplay to two other Val Lewton movies, I WALKED WITH A ZOMBIE— one of my favorite horror movies of all time— and THE LEOPARD MAN (1943), does a masterful job mixing the supernatural with reality.

The character the audience probably most relates to is reporter Oliver Davis, and he never suspects the vorvolaka. In fact, on the contrary, he vows to protect Thea from the General’s ever-increasing irrationality.

The story becomes a fascinating treatise on one man’s descension into despair. The General goes from competent pragmatic leader to a man motivated by fear.

Karloff is great in the role. As I said, it’s among his best performances. Famous for making the Frankenstein Monster a sympathetic character, he does the same here for the cutthroat General Pherides. At times, Karloff channels the cold dark ruthlessness of the General, but he also imbues the character with a fierce need to protect those around him.

Jason Robards Sr. is also memorable as their host on the island, Dr. Albrecht, as is Ernst Deutsch as Dr. Drossos, the doctor called to the island to deal with the plague. Deutsch was also notable in a supporting role as Baron Kurtz in Carol Reed’s classic THE THIRD MAN (1949) starring Joseph Cotton and Orson Welles. Deutsch also starred in the silent German classic THE GOLEM (1920).

Also in the cast is Alan Napier, as one of the guests. Napier of course would go on to play Alfred, Bruce Wayne’s butler, in the Adam West BATMAN TV series (1966-68). And Napier starred in several other genre films as well over his career, movies like THE INVISIBLE MAN RETURNS (1940) and JOURNEY TO THE CENTER OF THE EARTH (1959).

And Helene Thimig makes for a creepy housekeeper, Madame Kyra, who keeps peppering the General’s thoughts with her cries of “vorvolaka!”

Director Mark Robson, who also directed BEDLAM, does a nice job with the spooky atmosphere, giving such authenticity to the warm winds blowing over the island you can almost feel the breeze on your skin.

There are lots of creepy elements to keep the audience unsettled, including one of the characters who suffers from a condition where she collapses into a catatonic state that mimics death. Rightly so, she has an intense fear of being buried alive. That sort of thing couldn’t possibly happen on this island, right? RIGHT???

Sorry. All bets are off.

I really enjoyed Robson’s work here, so he can be forgiven for directing one of the all time worst disaster movies, EARTHQUAKE (1974) starring Charlton Heston and George Kennedy.

ISLE OF THE DEAD is a classic example of quiet horror. It possesses a winning combination of smart writing, atmospheric direction, and solid acting. Detractors of Val Lewton’s movies complain that they are more drama than horror, as the supernatural elements are reduced to pretty much nil, but this has never bothered me because regardless of whether or not the supernatural is alive and well in these films, they still tell stories of horror.

What happens on the island in ISLE OF THE DEAD is frightening, and as such, it makes for a compelling horror story.

It’s also fun to watch Boris Karloff play a role in which he’s not a monster, or a mad scientist. The three Val Lewton films that Karloff starred in gave him the opportunity to play roles unlike the ones he was playing for other directors. I think some of Boris Karloff’s best acting appears in these movies.

September means the end of summer. Vacations are done, the kids are back in school, and the focus for most is on work rather than play. Likewise, September is the perfect month for some serious horror viewing.

So check out ISLE OF THE DEAD, a classic horror drama shot in spooky black and white that tells a subtle yet nonetheless frightening story of a group of people quarantined on an island, fighting both the plague and the horrors of superstition, and featuring one of Boris Karloff’s best performances, as General Pherides, “the Watchdog,” a man hellbent on protecting those around him, unless of course, he suspects they’re a vorvolaka. In that case, he’s every bit as lethal as the plague.

It’s a deadly mix, and for the folks on this island, it really is the ISLE OF THE DEAD.

—-END—

 

 

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IN THE SHADOWS: PATRIC KNOWLES

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Patric Knowles as Dr. Frank Mannering, putting the finishing touches on the Frankenstein Monster (Bela Lugosi) in FRANKENSTEIN MEETS THE WOLF MAN (1943).

Welcome back to IN THE SHADOWS, that column where we look at character actors in the movies, especially horror movies, those folks who while not playing the lead in the movies, graced the film nonetheless in smaller roles, quite often making as much of an impact as the actors on top.

Up today it’s Patric Knowles, and if you’re a fan of Universal horror, you know who he is, based on two key performances in THE WOLF MAN (1941) and its sequel FRANKENSTEIN MEETS THE WOLF MAN (1943)

Here’s a partial look at Knowles’  127 screen credits:

MEN OF TOMORROW (1932) – Kwowles’ first screen appearance.

THE POISONED DIAMOND (1933) – Jack Dane – Knowles’ first screen credit.

THE CHARGE OF THE LIGHT BRIGADE (1936) – Captain Perry Vickers – co-stars with Errol Flynn and Olivia de Havilland in this war tale based on the poem by Alfred Lord Tennyson. Directed by Michael Curtiz, who would go on to direct, among other things, CASABLANCA (1942). Cast also includes David Niven, Nigel Bruce, and J. Carrol Naish.

THE ADVENTURES OF ROBIN HOOD (1938) – Will Scarlett- co-stars in this classic adventure, also by director Michael Curtiz, again starring Errol Flynn, as Robin Hood, and Olivia De Havilland, as Maid Marian. Cast also includes Basil Rathbone, Claude Rains, and Una O’Connor.

ANOTHER THIN MAN (1939) – Dudley Horn – co-stars with William Powell and Myrna Loy in the third THIN MAN movie, another fun entry in the classic mystery/comedy series.

THE WOLF MAN (1941) – Frank Andrews –  the first genre credit for Patric Knowles, and he struck gold as the THE WOLF MAN (1941) is arguably the best werewolf movie ever made and is also on the short list for the best Universal monster movie ever made. It also features one of the strongest casts ever assembled for a Universal monster movie: Lon Chaney Jr., Claude Rains, Evelyn Ankers, Bela Lugosi, Ralph Bellamy, Knowles, Maria Ouspenskaya, and Warren William.

While THE WOLF MAN belongs to Lon Chaney Jr. in his signature role as Larry Talbot/aka The Wolf Man, and features dominating performances by Claude Rains and Maria Ouspenskaya, and even Evelyn Ankers, the entire cast is very good, including Patric Knowles in a small role as Frank Andrews.

Nonetheless, Andrews is integral to the plot as he works as the gamekeeper at the Talbot estate, and he’s engaged to be married to Gwen Conliffe (Evelyn Ankers), who just so happens to also be the object of affection of one Larry Talbot (Lon Chaney Jr.). As a woman who’s engaged to be married, she has no business spending time with Larry, yet she agrees to take that moonlit walk with him, and she’s with him the night he’s bitten by a werewolf.

Unfortunately, there’s just not a whole lot of things for Knowles to do in THE WOLF MAN, although his character Frank Andrews does appear in one of the more memorable non-werewolf scenes in the film, where, at a carnival, he, Gwen, and Larry are playing a target shooting game, and Larry, flustered when he sees a wolf target, misses the shot, and then Frank hits it dead center. I’ve always thought this moment should have foreshadowed that Frank would be responsible for the demise of the wolf man, but that’s not how the film plays out.

THE STRANGE CASE OF DR. Rx (1942) – Private Detective Jerry Church – Knowles plays the lead here, a detective trying to solve the case of a serial killer who sets his sights on mobsters. Also starring Lionel Atwill, Anne Gwynne, and Samuel S. Hinds. Church’s partner here, Detective Sergeant Sweeney, is played by one Shemp Howard!

MYSTERY OF MARIE ROGET (1942) – Dupin – Again plays the lead role in this mystery based on the story by Edgar Allan Poe. Also stars Maria Ouspenskaya and KING KONG’s Frank Reicher.

WHO DONE IT? (1942) – Jimmy Turner- co-stars in this Abbott and Costello comedy where Bud and Lou try to solve a murder at a radio station.

FRANKENSTEIN MEETS THE WOLF MAN (1943) – Dr. Frank Mannering – stars in this WOLF MAN sequel, also a sequel to THE GHOST OF FRANKENSTEIN (1942), where he plays a different role from the one he played in THE WOLF MAN (1941). Here he plays Dr. Frank Mannering, a doctor who tries to help Larry Talbot but later focuses his energies on restoring the Frankenstein Monster (Bela Lugosi) back to his full strength. As such, Mannering becomes the first movie scientist not named Frankenstein to revive the Monster. He wouldn’t be the last.

Probably my favorite Patric Knowles role. He takes what should have been a standard mundane role and makes Dr. Frank Mannering a rather real character.

HIT THE ICE (1943) – Dr. Bill Elliot – more shenanigans with Bud Abbott and Lou Costello.

TARZAN’S SAVAGE FURY (1952) – Edwards – plays the villain to Lex Barker’s Tarzan in this jungle adventure.

FROM THE EARTH TO THE MOON (1958) – Josef Cartier – co-stars with Joseph Cotten and George Sanders in this science fiction adventure based on the novels by Jules Verne.

CHISUM (1970) – Henry Tunstall – supporting role in this John Wayne western. Also stars Forrest Tucker, Christopher George, Andrew Prine, Bruce Cabot, Richard Jaeckel, Lynda Day George, and John Agar.

TERROR IN THE WAX MUSEUM (1973) – Mr. Southcott – Knowles’ next to last genre credit is in this atmospheric wax museum thriller that is ultimately done in by low-production values. Has a fun cast, which includes Ray Milland, Elsa Lanchester, Maurice Evans, and John Carradine.

ARNOLD (1973) – Douglas Whitehead – Knowles last movie is in this horror comedy which also starred Stella Stevens, Roddy McDowall, Elsa Lanchester, Victor Buono, and Jamie Farr.

Patric Knowles enjoyed a long and productive career. And while he was more than a character actor, often playing the lead in many of his films, for horror fans, he’s best remembered for two quality supporting roles in two of Universal’s better horror movies, THE WOLF MAN (1941), and FRANKENSTEIN MEETS THE WOLF MAN (1943).

Patric Knowles died on December 23, 1995 from a brain hemorrhage at the age of 84.

I hope you enjoyed today’s edition of IN THE SHADOWS and join me again next time when I look at the career of another character actor.

As always, thanks for reading!

—Michael

 

Movie Lists: Stephen King Cameos

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Stephen King in CREEPSHOW (1982)

Stephen King has a cameo in IT CHAPTER TWO (2019), the latest film adaptation of one of his novels.

Just how many cameos has King done over the years? Well, according to stephenking.com, he has made 22 of them.

Welcome back to MOVIE LISTS, that column that looks at lists of odds and ends in movies. Up today, the movie and TV cameos of Stephen King.

Here’s a brief look at those 22 appearances:

KNIGHTRIDERS (1981) – Hoagie Man- the first one, in this creative actioner written and directed by George A. Romero.

CREEPSHOW (1982) – Jordy Verrill – one of my favorites. King gets turned into a plant by a meteor. Again, directed by George Romero, and King wrote the screenplay. One of my favorite horror movies from the 1980s.

MAXIMUM OVERDRIVE (1986) – Man at Cashpoint (uncredited)

CREEPSHOW 2 (1987) – Truck Driver

PET SEMATARY (1989) – Minister

THE GOLDEN YEARS (TV show)  (1991)- Bus Driver

THE STAND (TV miniseries) (1994) – Teddy Weizak

THE LANGOLIERS (TV miniseries) (1995) – Tom Holby

THINNER (1996) – Dr. Bangor

THE SHINING (TV miniseries) (1997) – Band Leader

STORM OF THE CENTURY (TV miniseries) (1999) – Lawyer/Reporter – uncredited

FRASIER (2000) – Brian – in the episode “Mary Christmas” of this classic TV show.

THE SIMPSONS (TV series) (2000) – Himself in the episode “Insane Clown Poppy”

ROSE RED (TV mini series) (2002) –  Pizza Delivery Guy (uncredited

KINGDOM HOSPITAL (TV series) (2004) – Johnny B. Goode

FEVER PITCH (2005) – Himself

GOTHAM CAFE (2005) – Mr. Ring

DIARY OF THE DEAD (2007) – Newsreader

SONS OF ANARCHY (TV series) (2010) – Richard Bachman, The Cleaner – in the episode “Caregiver” – probably my favorite Stephen King cameo of all time. His “cleaner” makes bodies disappear. This guy would have been right at home on the set of BREAKING BAD.

UNDER THE DOME (TV) (2014) – Diner Patron in the episode “Heads Will Roll”

MR. MERCEDES (TV) (2017) – Diner Patron

IT CHAPTER TWO (2019) – Shopkeeper

And there you have it. A brief look at the TV and movie cameos of Stephen King.

As always, thanks for reading!

—Michael


 

 

 

IT CHAPTER TWO (2019) – Horror Sequel Long, Laborious, and Dull

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it chapter two

IT CHAPTER TWO (2019) clocks in at a sprawling 2 hours and 45 minutes. That’s an awful long time for a movie not to be good.

The film starts well with a strong opening sequence, followed by a generally captivating first act, but then like the Energizer Bunny, it just keeps going and going and going. By the time the end credits roll, the whole thing had become a colossal bore.

IT CHAPTER TWO is the sequel to IT (2017), a film I liked well enough but didn’t love. Both movies are based on Stephen King’s epic novel of the same name, so epic it took two movies to cover all the material. IT was also filmed before as TV-movie back in 1990, also a two-parter, and that one was also well-received.

Truth be told, I’ve never been a big fan of the Stephen King novel. Like this movie, it tends to go on forever, and the story it tells could have been just as effective if not more so at a much shorter length.

The story told in IT CHAPTER TWO picks up twenty-seven years after the events of the first movie, which ended when the group of middle school friends, known as “the Losers,” defeat the monster known as Pennywise (Bill Skarsgard) which had been terrorizing their town of Derry.

It’s now present day, and it turns out that Pennywise wasn’t really killed (surprise, surprise!) and so the “Losers,” now adults, return to Derry to finish the job. And that in a nutshell is the film’s plot. So why on earth does this one have to go on for nearly three hours? The answer is simple. It doesn’t have to! If the story warranted a three-hour running time, there wouldn’t be an ounce of fat on it. This one is full of blubber.

And that’s because the screenplay by Gary Dauberman remains superficial throughout, touching upon various elements of the story but never really getting down and deep with any of them. In short, it never seems to get to the point! As a result, in this movie, I didn’t care about the characters or what happened to them.

As I said, the film gets off to a good start with a powerful opening sequence, and it does a generally good job with its introductions of the now adult “Losers.” And the scene where they all reunite for the first time at a Chinese restaurant is one of the best scenes in the film. But it’s largely downhill after that.

Mike (Isaiah Mustafa) explains that the way to kill Pennywise is by using a Native American ritual, and for that they have to offer a sacrifice, which means each of them has to find some artifact from their past to offer. So, the middle of the film follows each character as they seek out their own particular artifact, while Pennywise shows up to simply be a nuisance rather than to kill them outright. And then, when they finally do have their artifacts, it’s showtime! The big battle to take down Pennywise, which means lots of gory CGI effects. ZZZZzzzzzzzzzzzzzzzzzzzzzzzzz. Wake me up when someone says something interesting.

I’m also not a big fan of stories where characters find themselves in impossible situations, and then they can get out of them by saying, “It’s not real! None of this is really happening!” And then like poof! Everything is all better. This happens a lot in this movie. And for me, that’s just too easy.

In the first IT, I enjoyed Bill Skarsgard a lot as Pennywise. He was so good I didn’t find myself missing Tim Curry, who played the monstrous clown in the 1990 movie. But here, Skarsgard is way less effective. Part of it is minimal screen time. Part of it is inferior dialogue, but mostly it’s because rather than see Skarsgard as Pennywise, we see a whole lot of CGI Pennywise. Pennywise in this movie reminded me an awful lot of the way Freddy Krueger was portrayed in the later NIGHTMARE ON ELM STREET movies, and in fact, at one point in this movie, A NIGHTMARE ON ELM STREET 5 is listed as playing at the Derry movie theater. And if you don’t remember, those latter NIGHTMARE movies weren’t very good. Neither is IT CHAPTER TWO.

The rest of the cast is generally okay, but they’re simply playing characters who were much more interesting as kids in the first movie.

I mean, I like Jessica Chastain and James McAvoy, and they’re both fine in their roles as Beverly Marsh and Bill Denbrough, respectively, but there’s not a lot of meat on these roles and they generally just go through the motions.

Bill Hader probably fares the best as Richie Tozier, as he gives the liveliest performance and gets the film’s best lines. Isaiah Mustafa as Mike makes for a lackluster narrator, while Jay Ryan as Ben Hanscom and James Ransone as Eddie Kaspbrak are both serviceable.

No one in the film rises above the material. What they all have in common is that even as adults they are terrified of Pennywise, and they do fear well, but the problem is the film doesn’t instill this fear into its audience. And that’s because in this movie Pennywise simply isn’t all that scary.

Director Andy Muschietti, who also directed the first IT and the horror movie MAMA (2013) which I remember liking a lot, puts all his chips on the CGI side of the table. This one is full of special effects, and as is so often the case, these effects do very little in carrying this movie.

In fact, while it started off as a film I was generally into, by the time it reached its two-hour mark, with still nearly an hour left to go, I was ready for this one to be over.

There’s also a strange homage to John Carpenter’s THE THING (1982) which comes out of nowhere. It’s the scene where the severed head sprouts legs, and here Bill Hader even delivers the now famous line originally uttered by David Clennon. Since this sequence was so out-of-place, it felt less like an homage to me and more like a rip-off.

I didn’t like IT CHAPTER TWO at all. It’s an exercise in overblown and over-indulgent horror. It’s based on a gargantuan novel and so there is a lot of source material to choose from, and I’m sure the notion of adapting it to film is no easy task. But that’s also not an excuse for making a film that simply doesn’t work.

IT CHAPTER TWO goes on for nearly three hours without offering any satisfying tidbits, surprises, or character nuances to keep its audience riveted. It’s a laborious horror movie, and as such, it’s one of my least favorite films of the year so far.

—END—

 

IN THE SPOOKLIGHT: TRAIN TO BUSAN (2016)

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I absolutely love TRAIN TO BUSAN (2016).

So much so that after watching it for the first time a couple of years ago on Netflix, I decided to watch it again last month. The result? I enjoyed it even more!

TRAIN TO BUSAN is a South Korean horror movie about the zombie apocalypse. Now, obviously, there have been many stories about said apocalypse in recent years, from the exceptional THE WALKING DEAD TV show to films like WORLD WAR Z (2013) and ZOMBIELAND (2009). What makes TRAIN TO BUSAN stand out from all the rest?

For me it’s the same for any quality movie: it’s the writing, stupid!

TRAIN TO BUSAN has a superior script that both tells a compelling story and creates memorable characters. The result is one heck of an emotional roller coaster ride, and that’s the part that I enjoyed the most upon a second viewing. I had forgotten just how emotional this movie got. Bring out the tissues! You’re going to need them.

Yup. You’re gonna need a bigger box of tissues.

And TRAIN TO BUSAN is that good. It’s on par with the best episodes of THE WALKING DEAD, and in terms of movies, you have to go back to George Romero to find a better zombie movie. SHAUN OF THE DEAD (2004) might be better, but that one’s a comedy.

TRAIN TO BUSAN is pure horror.

In TRAIN TO BUSAN, Seok-woo (Yoo Gong) just can’t seem to spend enough time with his daughter Soo-an (Su-an Kim), as his job simply keeps him too busy. But when he decides to accompany his daughter on a train ride to take her to see her mother who he’s now separated from, he hopes to at least have this time with her.

Unfortunately for Seok-woo, he picked a bad day to go for a train ride with his daughter, as it just so happens to be the same day that the zombie apocalypse breaks out. And suddenly, quick moving flesh eating zombies are overrunning the land and getting on the train. A small group of survivors band together to fight off the zombies, all the while hoping the train makes it to Busan, where rumor has it that the military has successfully created a safe haven there.

TRAIN TO BUSAN is the story of these survivors, who besides Seok-woo and Soo-an, also includes a pregnant woman Seong-kyeong (Yu-mi Jung) and her husband Sang-hwa (Dong-seok Ma), and two high school students, Jin-hee (Sohee) and Yong-guk (Woo-sik Choi) to name a few.

What follows is an intense thrill ride that provides nonstop chills and suspenseful action sequences, as well as tugging at your heartstrings, in a big, big way.

The cast in TRAIN TO BUSAN is phenomenal.

Yoo Gong is naturally heroic as main character and daddy Seok-woo. At first, he’s not the most sympathetic character, as it’s clear that in the past he has placed his career above his daughter, but when the zombies attack, it’s also clear that Seok-woo will do whatever it takes to protect his young daughter. Gong makes for a dashing young hero.

Some of Gong’s best scenes are with his co-star Dong-seok Ma who plays Sang-hwa, the husband who similarly will do whatever it takes to protect his pregnant wife. Dong-seok Ma delivers the most fun performance in the film, as Sang-hwa is both a humorous guy and a kick-ass fighter who becomes the go-to guy when the need arises to fend off the walking dead. Initially, Seok-woo and Sang-hwa do not see eye to eye, but as things grow more bleak they put aside their differences and work together.

Yu-mi Jung is equally as good as Seong-kyeong, the pregnant wife who eventually befriends Seok-woo’s daughter Soo-an. Jung makes Seong-kyeong one of the film’s strongest characters, as she has to go above and beyond what one would expect a pregnant woman to have to do.

Likewise, Sohee is memorable as teen Jin-hee.

But best of all is Su-an Kim as Seok-woo’s young daughter Soo-an. She gives the most emotional performance in the entire movie. She has some of the best scenes in the film, and she is more than up to the task of nailing these powerhouse scenes, and for such a young performer, that’s saying a lot.

And I challenge you to find a more emotional ending to a horror movie. Talk about gut-wrenching, the final sequence will have you shaking.

Director Sang-ho Yeon has made one of the best zombie films ever. In addition to the first-rate performances and superb story, there are some truly outstanding action sequences here, well-crafted by Yeon. From hordes of zombies charging up escalators to the characters having to battle their way through zombie infested train cars, the film’s action sequences are second to none.

The special effects are also top-notch. The zombies look scary and are plenty deadly, and these undead folks are of the speedy variety. No slow-moving walkers here. These babies run like the wind!

But the best part of TRAIN TO BUSAN is that the film gets the emotions right. You truly feel for these characters, and the situations they find themselves in play out as tremendously realistic. TRAIN TO BUSAN is a much more emotionally satisfying movie than say WORLD WAR Z which as entertaining as it was fell flat emotionally.

A lot of the credit for the emotion goes to the screenplay by Joo-Suk Park and director Sang-ho Yeon. The script creates riveting situations, likable characters, and realistic dialogue, and it’s all executed to perfection by the actors and by director Yeon.

TRAIN TO BUSAN was the first South Korean zombie apocalypse horror movie, and it’s not going to be the last, as a sequel is already in the works.

You really need to watch TRAIN TO BUSAN. It’s one of the best zombie apocalypse movies ever made, and it’s certainly the most satisfying zombie horror movie of the last twenty years.

What are you waiting for? Get your ticket already! Of course, once on board, you may want to text your loved ones, as there’s no guarantee you’ll actually make it to Busan. The zombies on the train are plenty hungry, and they have the humans insanely outnumbered, but heck, it’s a helluva thrill ride, one that you definitely don’t want to miss!

Will that be one ticket or two?

—END—

 

READY OR NOT (2019) – Relentless Thrill Ride Lots of Fun

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If you like your horror bloody and full of dark humor, you’ll love READY OR NOT (2019), a comedic yet brutal thrill ride about a deadly game of hide and seek.

It’s also a pretty funny take-down of the super rich.

Grace (Samara Weaving) is about to marry Alex Le Domas (Mark O’Brien) and by doing so marry into the ridiculously wealthy Le Domas family and empire. The Le Domas clan made their money in games and sports. Alex warns Grace that his family is weird and that she still has a chance to back out of the wedding, but she says she’s all in as she is in love with him.

Shoulda heeded that warning, Grace!

It turns out that Alex’s family is as strange as advertised, and then some. After the wedding, Alex informs Grace that it’s a family tradition that at midnight they all play a game, and after this experience, then Grace officially becomes part of the family. She doesn’t have to win the game. She simply has to agree to play. Grace loves games and so she sees no problem with this arrangement.

Inside the enormous game room of the Le Domas mansion, the patriarch of the family Tony Le Domas (Henry Czerny) explains the history of their empire, how his great-grandfather took possession of a mysterious box which Tony now holds in his hands, and how he made an arrangement with the box’s previous owner, that if he and his progeny agreed to play a game named in the box, then the stranger would finance the Le Domas business. This arrangement continues to the present day, and is the source of the Le Domas’ money.

However, there is one particular game that the Le Domas family fears playing, and that game is hide and seek, which just happens to be the one that Grace pulls from the box. See, it’s not just a game of hide and seek. In this version, after Grace hides, the family not only has to find her, but they have to kill her. The thinking being that every few years or so to continue their supernatural source of money, they have to provide a sacrifice. Otherwise, they will all die by dawn. As much as they don’t want to play this game, they have no qualms doing so.

However, in this case, things turn out to be not so easy, because once Grace finds out what’s going on, she fights back, and fights back hard.

READY OR NOT may sound like a lurid, ugly thriller, but it’s not. This is not a variation of THE PURGE movies. From the very first murder, when the ultra nervous Emilie (Melanie Scrofano) kills the wrong victim, and one of the family members asks, “Does this count?” it’s clear that this tale is being played for laughs, and it’s a game this movie plays well. The laughs are loud and frequent.

The screenplay by Guy Busick and Ryan Murphy is as sharp as the axe which lops off a person’s head in this movie. The funniest parts are the reactions of the Le Domas family. They’re aloof and impervious to the violence.

And it’s a good thing the story is played for laughs because the reasons behind the hide and seek hunt are rather ridiculous. This one would have struggled to work as a serious thriller.

The cast is solid and is more than up to the task of pulling off the bloody shenanigans. Samara Weaving is perfect as Grace, the hunted wife who refuses to be a victim and fights back, giving the Le Domas clan all they can handle. Weaving was phenomenal in THE BABYSITTER (2017),  a movie in which she played a murderous babysitter. That film was also quite humorous, and in that one she played the hunter rather than the hunted. Her performance in THE BABYSITTER was more memorable than her role here as Grace, but not by much. I like Weaving a lot and hope she continues to land leading roles. She’s exceptional.

The rest of the cast do marvelous jobs as the bizarre Le Domas family, especially Henry Czerny as patriarch Tony Le Domas. Other standouts include Melanie Scrofano as the hyper Emilie, and Elyse Levesque as the cold and deadly Charity Le Domas, who doesn’t mind killing to stay in the family, as she says her past life before she married into the Le Domas clan was far worse.

Mark O’Brien is fine as Grace’s new husband Alex Le Domas. He insists that he’s different from his family and vows to help Grace escape, but family ties run deep. Adam Brody is also very good as Alex’s older brother Daniel, an alcoholic, who is also sympathetic to Grace’s plight. And Nicky Guadagni nearly steals the show with an over the top performance as the tight-lipped evil eyed Aunt Helene.

Also in the cast is Andie MacDowell who plays matriarch Becky Le Domas. Even though MacDowell has been working steadily over the years, it’s been a very long time since I’ve seen her in a movie. Here, she pretty much plays things straight, and her scenes are mostly about trying to reconnect with her son Alex, refuting his claims that Grace has shown him the light, stealing her son’s thunder with the cutting remark that there’s no way a girl he’s known for only a year knows him better than she does. Ouch!

Directors Matt Bettinelli-Olpin and Tyler Gillett keep the action fast and furious. The killings are graphic, bloody, and brutal, the weapons of choice include axes, crossbows, and guns, yet you’re more likely to laugh than shield your eyes and groan, although there is one wince-inducing scene involving Grace’s already mangled hand from a bullet, and a very large nail. Well, in spite of the laughter, this is a horror movie after all.

And the laughs from the audience were loud and frequent. It was clear that everyone in the theater was having a good time.

There are also plenty of swipes at the ultra rich, thematic elements which include the notion that money gives people power to do whatever they want without consequences, and how this is just accepted. Of course, here, as Grace fights back, that’s not how things go down this time.

I really liked READY OR NOT.  While I prefer horror that is more serious than this tale, I can’t deny that I had a lot of fun watching this one.

So strap yourself in and get ready for one relentless thrill ride.

Ready or not!

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47 METERS DOWN: UNCAGED (2019) – Shark Sequel Scary, Claustrophobic, and Unremarkable

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47 meters down uncaged

Shark movies have become a trope.

Throw a few sharks in the water, mix in some unsuspecting swimmers, preferably of the teen variety, have lots of screaming, and you’ve got the makings of a horror movie. Trouble is, like the slasher film before it, the shark movies have become carbon copies of each other, and most of the time, they’re not very good.

This is the biggest thing that 47 METERS DOWN: UNCAGED (2019) has working against it. Even though it tries to be different, it’s still a shark movie, which takes away from some of the solid scares it manages to deliver.

47 METERS DOWN: UNCAGED (2019) is also a sequel. The first film, 47 METERS DOWN (2017) was a movie I liked but didn’t love. The good news here is 47 METERS DOWN: UNCAGED has nothing to do with that first movie. It’s got all new characters and an all new story. The only connection between the two are the sharks, and the location. Both movies take place in Mexico.

47 METERS DOWN: UNCAGED is the story of two sisters. The movie opens when one of the sisters Mia (Sophie Nelisse) is pushed into a swimming pool by a group of mean girls at their all girl private high school. When the film starts off, it looks like it’s going to be CARRIE meets JAWS, which incidentally might have been a better movie, but that’s not where this one ultimately goes, as the bullies take a back seat to the two sisters.

Mia’s half-sister Sasha (Corinne Fox) doesn’t get along with her either, and to remedy this, their dad Grant (John Corbett) arranges for them to spend some quality time together on a glass bottom boat shark tour, where they’ll be able to see some great white sharks, which doesn’t really seem like the best parenting idea to me, thrusting two daughters together who really don’t like each other, but of course, this is a shark movie, so you know where this one is going. They’re going to have to put aside their differences once their lives are on the line.

Anyway, they don’t ever go on the tour because Sasha’s friends Alexa (Brianne Tju) and Nicole (Sistine Rose Stallone) show up to whisk them away on a private swimming date. For a moment I thought Sasha was going to ditch Mia, but at least she agrees to take her sister along.

The girls go swimming in a beautiful secluded area, which just so happens to be where Mia and Sasha’s dad has been diving and exploring some ancient underwater caves, as he is busy discovering an underwater city. The girls decide to dive there and explore the underwater city themselves, only for a few minutes.

But things go awry when they discover that inhabiting the underground city are a bunch of s-s-sharks!!! The rest of the film follows the girls as they have to battle the sharks as they try to find their way out of the underwater city.

In spite of this being yet another shark movie and a sequel, there was a lot in 47 METERS DOWN: UNCAGED that I actually liked. The underwater scenes in the submerged city are done very well. Director Johannes Roberts gives this one a claustrophobic feel with lots of attention given to confined spaces and dark narrow tunnels. The camera stays in tight as the characters navigate through the confining underwater caves.  Roberts also directed the first 47 METERS DOWN. I guess he likes shark movies.

Speaking of sharks, the shark scenes here were definitely scary. I thought they were handled better here than in the first movie. The fact that the girls are fighting off the sharks in underwater caves helps, and these just aren’t any sharks. Since they’ve been living in darkness for ages, they’re blind. So, if you’re real quiet, they won’t be able to find you. Hmm. Where have I heard this plot point before? (Hello A QUIET PLACE [2018], as well as DON’T BREATHE [2016]). Trouble is, for some reason, the girls are anything but quiet. They constantly make noise, and as a result, they are constantly under attack.

But that being said, the shark scenes are quite effective and provide the film with lots of tense moments.

Working against the movie is its poor pacing. With its brisk 89 minute running time, I wouldn’t call it a slow-paced movie, but it also has no sense of urgency. It doesn’t use pace to its advantage, as the film never really builds suspense.

It also goes to the well once too often, and its conclusion is nothing short of ludicrous.

The screenplay by Ernest Riera and director Johannes Roberts creates likable characters with the four teenagers and puts them in a dire situation, but it doesn’t do anything above and beyond to make this one stand out. And as I said, the ending is completely unbelievable.

The acting is fine. All four main actors do a serviceable job, Sophie Nelisse as Mia, Corinne Fox as Sasha, Brianne Tju as Alexa, and Sistine Rose Stallone as Nicole. Stallone is Sylvester Stallone’s daughter, and this is her film debut.

The sharks don’t actually look that bad, but they’re not great either. They’re helped by the fact that most of the time they’re seen in the darkness of the underwater caves. Still, I’ve yet to be impressed by a CGI created shark.

Since the bulk of this film takes place in confined spaces, it reminded me somewhat of this year’s earlier release CRAWL (2019) about a daughter and her father terrorized in the flooding basement of their home by hungry alligators during a monstrous hurricane. I liked CRAWL better. For one, it wasn’t about sharks, and it also told a more compelling story and featured stronger acting.

47 METERS DOWN: UNCAGED will barely register on the shark movie meter, but judged on its own merits, it’s really not half bad and does provide a decent amount of shark scares in a dark claustrophobic setting of underwater caves.

You can do a lot worse, so if you like shark movies, you may want to check out 47 METERS DOWN: UNCAGED. Otherwise, don’t take the bait.

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