This week we're all recommending horror movies of one kind or another.
Adam Riske: Candyman (1992, dir. Bernard Rose) The underrated Candyman is one of the best horror movies of the 90s. It feels haunted down to its DNA. Much of this has to do with the chilling atmosphere brought from the Cabrini-Green housing development in which most of the movie is set. Oddly enough, though, the movie is not oppressive because it’s thrilling to see a movie this scary. This is one of the few times I can recall gore freaking me out in a movie. It’s so over the top that you feel unsafe, like Clive Barker and director Bernard Rose are not holding back. Candyman stars Tony Todd in a now iconic horror role and Virginia Madsen who claimed she was hypnotized when she shot certain scenes of the movie. I don’t know if that’s true but if it is, it really works especially for the big reveal at the end which has been burned into my brain. Holy shit, is it effective.
Erich: Amistad (1997; dir. Steven Spielberg) Maybe this is cheating since I just reviewed it for DVD Verdict, but if you aren't going to pick up the new Blu-ray at least give Amistad a chance (first, second, or otherwise) on Netflix. I don't know why people ignore this excellent film, which (with a few exceptions) is at least as good as any Spielberg film in the last twenty years. It's a gorgeous movie with an all-star cast, supporting a trio of stellar performances by Matthew McConaughey, Anthony Hopkins, and Djimon Hounsou. Amistad takes a unique approach to slavery. Instead of showing the depravity of plantation life (we've got 12 Years a Slave for that), Spielberg and screenwriter ad avid Franzoni use the structure of a courtroom drama to talk about the way white America and Europe dehumanized a group of people to maximize profits.
Heath Holland: Mothra vs. Godzilla (1964, dir. Ishiro Honda) In a recent column, Three Flicks: Godzilla, I wrote about Mothra vs. Godzilla, the fourth film in the Godzilla franchise (it's incorrectly titled Godzilla vs. Mothra on Netflix; that title would later be used for a 1992 film). I was kind of hard on the movie and even accused it of being boring, which is the cardinal sin of a monster movie. I WAS WRONG. I watched it again (in the original Japanese) and absolutely adored it. First of all, Mothra is a SHE. I'm not sure how I didn't pick up on this originally. Second, Mothra is regal and dignified and rules the kingdom of Infant Island with a kind hand (wing?). That the movie accomplishes this with what is basically a puppet is amazing. Godzilla doesn't even show up until around the half-way mark, yet I never cared or felt bored because I was completely immersed in what was happening elsewhere. Lastly, the score provided by composer Akira Ifukube is incredible and simultaneously conveys beauty and sadness. The score also features Godzilla's theme music, which is a little touch that adds so much and is not always present in these movies. If you saw the new Godzilla film and it left you wanting more of the big guy (in either a good way or a bad way), I urge you to check this out. It's definitely one of the high notes in the franchise. I wish I'd recognized greatness the first time I watched it.
JB: The Silence of the Lambs (1991, dir. Jonathan Demme) This film is so good it makes me wish that Demme would make more movies.
Silence of the Lambs finally brought the horror film respectability by masquerading
as a "police procedural" and "thriller." Make no mistake; this is a horror movie, the
only horror movie in history to win the Best Picture Oscar. Career-best performances
from Jodie Foster, Anthony Hopkins, Scott Glenn, and Ted Levine. One of my scariest
moments ever as a high-school teacher was when I heard a student out in the hall
during passing period shout, "IT PUTS THE LOTION ON ITS SKIN." I still don't know why anyone would ever really shout that. This film would also satisfy the requirements for June 1st, 5th, or 30th during JUNESPLOITATION.
Patrick: Never Sleep Again: The Elm Street Legacy (2010, dir. Daniel Farrands/Andrew Kasch) This incredible documentary covers every Nightmare on Elm Street movie from the 1984 original through Freddy vs. Jason, interviewing nearly every major participant (excluding names like Patricia Arquette and Johnny Depp) and even some minor players (like the "No running in the hallways!" woman from the first film). While these horror franchise docs have already gotten played out, Never Sleep Again remains the gold standard -- anyone with even a passing interest in these movies should check it out, as it tells not just a lot of interesting and revealing stories about the productions (poor Stephen Hopkins), but documents the changing face of horror and filmmaking through the 1980s. Don't let the FOUR HOUR running time dissuade you. It flies by.
Is it out of bounds to maybe prefer Red Dragon to Silence? No respect to Demme or Foster, but I just didn't find Starling all that interesting as a protagonist, nor was I especially moved by her childhood trauma story. Also, as satisfying as it is to see Lecter escape on one level, I also really like the notion of such a crazy genius locked up forever - his line "We live in a primitive time, don't we, Will? Neither savage nor wise. Half measures are the curse of it; a rational society would either kill me or put me to some use" is Poe-like in its elegant creepiness.
ReplyDelete*No disrespect, d'oh...
DeleteIt's not out of bounds, El. It just means you're absolutely, totally, thoroughly, barking mad.
DeleteI can't speak without bias here as Silence of the lambs is one of my favourite movies. It is in my top ten. You guys talk about that movie where you discovered a film that made you aware of a director's descions and that film was that for me. I have seen it so many times and love every aspect of it. Especially Clarice who is one of my favourite characters. I love how Jodie Foster brings strength and vulnerability at the same time. I find it very layered and fascinating to watch. I have also always had a major crush on her in this film. I have not actually watched anything else from that world as I woud rather just put on Silence again. However, we all have those movies that we know we should like but just can't connect with. I have been in your position with a few films. I have seen Silence in a cinema as well, which was a fantastic experience I finally got to appreciate how well crafted the sound is as well as enjoy the other perks if seeing something on a big screen with an audience of fellow fans.
DeleteWell said. For me, Silence of the Lambs is a film where everything comes together perfectly. It had to have Jodie Foster to work (as Hannibal proves, nothing against Julianne Moore), and it had to have Jonathan Demme. I think of Demme as a "humanist" director, because he just seems to genuinely like people - he can see (and show) the humanity in just about everyone.
DeleteThen there's Brett Ratner, who...well, cannot.
Interesting. I remember hating Red Dragon when it came out but maybe I'll give it another chance. I actually prefer Manhunter to both! Michael Mann can do no wrong in my book.
DeleteI'll grant that Red Dragon doesn't have the same deeper material in terms of a young woman navigating the man's world of the FBI that Silence does, but again, I didn't find that material hugely compelling. I'll also admit, however, that I watched Red Dragon first, and it has more Hopkins, which I'm always in favor of, so Silence didn't quite have the same impact it might have if I'd started off there.
DeleteAs for Ratner, I'm definitely no fan, but he's working with a strong script in Red Dragon as well as terrific actors, including not just Hopkins but Norton, Fiennes, and Seymour Hoffman. With a solid script and that cast, it hardly takes a great director not to muck it up.
My argument has always been that Brett Ratner knows how to surround himself with good people and make movies that are slick and efficient. That's less true in recent years, but definitely the case with Red Dragon.
DeleteThanks for the tip on Never Sleep Again Patrick! "Nightmare on Elm Street 2 is gay" is one of the funniest segments I've ever seen in any movie. Wasn't sure if I could knock this out in 1 sitting at first. But I am hooked.
ReplyDeleteGlad you like it! I've watched it more than once, which is saying something.
DeleteYeah Never Sleep Again was a very good documentary, looking back its kind of sad how much they rushed the production on all the sequels cause you can see good ideas sticking out of all the movies (ok except Freddy's Dead) but since they just screamed "GO GO GO" we have the mixed bag of a franchise that we have today.
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