As Piercing opens, Reed (Christopher Abbott) is a man with murder on his mind. About 30, nondescript, slightly schlubby even, with a receding hairline, five-o-clock shadow, and a troubled, unsure demeanor, Reed is first seen hovering over his infant daughter with an ice pick in hand. He’s not making a cocktail. Riddled with anxiety and insomnia, Reed is a wreck. His work isn’t fulfilling him. His wife can’t calm him. And then at one point, as he gazes down into the dark pools that are his daughter’s eyes, the infant speaks to him: “You know what you have to do, right?” The moment is chilling, yet absurd. In a very dark way, it’s hilarious. And with that, Piercing is off to the races. Continue reading
Fondly remembered in cult circles as a surprisingly well-acted low-budget horror diversion, this Reagan-era creature feature boasts a roster of game performances, a plethora of vintage locations from the days when New York City was scary enough by itself, and, of course, that title–one of the most vivid and ludicrous acronyms in film history. A CHUD, as any red-blooded Fangoria subscriber could have told you many months before the movie itself made its way to their hometown, is a cannibalistic humanoid underground dweller. OK, it’s not the most elegant acronym. For one thing, if the underground dwellers are cannibalistic, does that mean they eat humans, or just other humanoids? And if they do eat humans, doesn’t the fact that they are merely humanoid mean they’re not technically cannibals after all? But forget all that. Cannibalistic. Humanoid. Underground. Dwellers. What else do you need to know? Continue reading
Philly-based distributor Artsploitation Films has just pulled a Dutch film called Meat (aka Vlees, 2010) out of the freezer, and it’s kind of a doozy. Produced by Amsterdam-based co-directors Maartje Seyferth and Victor Nieuwenhuijs (she’s the writer, he’s the cinematographer), Meat is a nonlinear murder mystery that starts out as day-in-the-life middle-aged sexual intrigue, morphs briefly into one of those young-people-and-discotheques Euroflicks, and finally turns into a post-modern police procedural. It’s not much of a whodunit, but it’s a pretty good example of a 21st-century grindhouse film, serving up pungent elements of low-budget horror and surrealism with erotic aromatics and a permeating abattoir stench. But I don’t want to oversell it. Just think Luis Buñuel crossed with Jörg Buttgereit. Continue reading
Say what you will about the original Sleepaway Camp—you can’t accuse it of lacking ambition. All writer-director Robert Hiltzik had to do to sell a movie with that title in that era was cast a bunch of teenagers in a wan Friday the 13th knock-off and splash some Karo blood around in the woods. Yet he made something dark and unique, with queer undertones: the first gender-identity horror film. The story goes that Hiltzik’s script for a follow-up was rejected by producer Jerry Silva, who thought it was too dark. Instead, he forged ahead with plans to shoot two overtly-comic sequels back-to-back in Georgia under the direction of local talent Michael A. Simpson. A 24-year-old writer named Fritz Gordon got the gig on a recommendation from U.S. distributor Nelson Entertainment.
The most feted horror film of the year, The Babadook is an exercise in psychological horror that mixes elements from Roman Polanski’s Repulsion and Stanley Kubrick’s The Shining. Delving into the fraying emotional states of a woman and her special-needs son, director Jennifer Kent spins a harrowing yarn about the terror that accompanies the pleasures of motherhood — the fear that you will be unable to do enough, to muster all the spirit and goodheartedness that are required, to care for your child.
Ah, summer camp. Softball games, capture the flag, nightswimming, and life-changing boating accidents. Not to mention killer bees, child molesters, maniacs in the shower, and one kid with a whole lot of baggage, if you know what I mean. Sleepaway Camp is a slasher movie, and it depicts lakeside Camp Arawak as a pressure-cooker of hormones and teenage flop sweat. Into this fetid milieu step Ricky and Angela, teenaged cousins united by tragedy: a boating accident that killed Angela’s parents and sibling some years earlier. Ricky (Jonathan Tiersten) might be a little awkward, but he just wants to fit in; Angela (Felissa Rose), meanwhile, seems downright disturbed, spending much of her time dead silent, staring down her fellow campers with a mournful, almost accusatory glare. Before long, some of those campers start dropping dead as surely as the flies that coat the glue strips dangling in Arawak’s kitchen. There’s a soup incident, a shower incident, and an incident involving a toilet stall and angry bees. There’s a bit of business with a curling iron that’s probably inappropriate in a movie starring underage actors. The slasher’s hands appear on screen, but do they belong to unhappy Angela? Overprotective Ricky? Or someone else entirely?
Consider the pig. Pork is damned near a gourmet food these days. Celebrity chefs will serve you layers of pork belly wrapped around potatoes, figs, even pineapple. They’ll dip bacon in chocolate, infuse it in vodka, or drape it across an ice-cream sundae, resplendent in its brown glory. Your local organic market probably sells artisanal bacon cured with dark, fine-grained muscovado imported from Mauritius and flavored with angel farts and faerie dust. The recent cinema has also celebrated the pig, via two excellent Babe movies and a decent adaptation of Charlotte’s Web. It wasn’t always that way, though. No less an authority than God Himself went Old Testament on pork back in the day, and it took the famous and completely disingenuous “Pork: The Other White Meat” campaign to rehabilitate swine for the U.S. market. What I mean to say is that the 1982 horror movie Evilspeak, in which a trio of crazed, Satan-possessed porkers burst into a bathroom and disembowel a nude woman taking a shower, couldn’t have done the humble pig’s reputation any favours. Continue reading