When I was putting together the lists of my favorite horror and non-horror films of 2022, one thing became abundantly clear: they were either going to be really long lists or I was going to be leaving some otherwise noteworthy films in the dust.
In order to shine a little light on these very honorable mentions, I now present the runner-ups to my favorite non-horror films of 2022. Based on my grading system, these 15 films, ranging from documentaries to animated films, just missed the cut-off for the big list, but were all very worthy films, indeed.
Coming up next: my very favorite non-horror films of last year. Stay tuned, boos and ghouls: we’re just getting started!
One of the main goals of The VHS Graveyard is to introduce people to films and filmmakers that they might not be familiar with. By this point in cinematic history, stretching back over a century, there’s too much for even the most dedicated cinephile to keep track of, much less folks who don’t devote every waking minute to the subject. While we certainly don’t know everything (or even most things) about film, you can bet that the folks behind the annual Chattanooga Film Festival probably do.
CFF 2021
Beginning as a film club, in 2009, before becoming a full-fledged movie festival in 2014, the Chattanooga Film Festival is one of those amazing grab-bag events, like the higher-profile Fantastic Fest, that offers a little bit of everything, programming-wise.
CFF 2020
From ultra-low budget indie fare to soon-to-be breakout hits and reshowings of classic genre offerings that might’ve gone missed, back in the day, there’s something for everyone, regardless of what they’re looking for. Throw in the usual panel discussions, seminars, salutes to industry legends and assorted workshops and it’s pretty obvious that the CFF stands tall with the best of them.
CFF 2021
If this was all there was to the story, however, this festival would remain something that the Graveyard respected but didn’t pay much attention to. What’s managed to imprint the CFF on our overstuffed brain?
CFF 2020
Quite simply, the Chattanooga Film Festival successfully did the one thing that so few other larger festivals have even attempted: they took their event online, to spectacular results.
CFF 2021
When the global Covid pandemic shut physical get-togethers down in 2020, the CFF responded by taking their party directly to the masses, films, events and all. Despite our love of cinema, we’ve never attended one of the big festivals: between the travel, the crowds and the expense, there was never enough of a reason to draw us out of our comfortable cocoon, in the past. The announcement of the CFF’s all-digital version in 2020, however, was too good to pass up.
CFF 2022
Suffice to say, that first year impressed us so much that we eagerly bought passes for the following two years as soon as they went on sale. As a now dedicated fan, the Graveyard can honestly say that the difference with the Chattanooga Film Festival comes down to one thing: these folks not only know about but love film, in all its wild, wonderful and occasionally trashy glory.
CFF 2020
Whether celebrating a new, unseen film that’s poised to take the world by storm or paying tribute to an ultra-cheesy TV movie from the ’70s, the CFF does nothing ironically or archly: they’re unapologetic about loving what they love, which gives us all the freedom to love what we love with like minded folks.
CFF 2021
While the CFF has more short films, special events and workshops than one person could reasonably attend, it’s the full-length features that always get our full and undivided attention. Since 2020, we’ve made a game of trying to see every last feature and haven’t succeeded yet but have come pretty close.
CFF 2020
Since 2020, many of the films that have ended up at the top of our Best Of lists (for both horror and non-horror) have come directly from the vaunted online halls of the Chattanooga Film Festival: films like Scare Package, Koko Di Koko Da, My Heart Can’t Beat Unless You Tell It To, Coming Home in the Dark, Woodlands Dark and Days Bewitched, Something in the Dirt and The Leech were all first seen via the CFF.
CFF 2020
One of the biggest compliments we can pay the Chattanooga Film Festival, ultimately, is that we’ve had such a good time, virtually, that we’d happily make the trip (at some point in time) to experience the fest in person. While we have nothing, specifically, against either Chattanooga or Tennessee, we never would have entertained this notion before 2020.
At the end of the day, every film festival must be judged on a few simple criteria but the most obvious one should be: is it actually any fun? As someone who has eagerly looked forward to and massively enjoyed the (virtual) CFF for the past few years, I can answer that with a very resounding and definite “Fuck yeah!”
Long-time readers will know that October has always been something of a sacred month for our horror-loving, coal-black heart, as we devote the entire month to nothing but fright flicks.
But what about the other months? In an effort to mix things up a little last year, we decided to inaugurate a new tradition, albeit one that might not have the same staying power as our annual 31 Days of Halloween: the first ever “Ho-Ho-Horror.”
The idea was simple: screen 24 Christmas-themed horror films between December 1st and the end of Christmas Eve and note whether ol’ Krampus would’ve put them on the naughty or nice list.
Unlike our October tradition, watching one a day wasn’t a requirement: I didn’t want to turn December into a horror-exclusive month, after all, just mix it up a little.
While some of the choices felt way too safe, I also chalked it up to first year jitters: adding Gremlins or the original Black Christmas to any horror recommendation list, at this point, feels like suggesting Star Wars to a sci-fi fanatic but they’re both undeniably Christmas films.
Will there be enough unscreened films to allow for a Part 2 this year? I think so but we’ll all find out in December. Until then, faithful and ghoulish readers, I implore you to step into the time machine and head all the way back to last month for…Ho-Ho-Horror 2022!
In the order they were screened:
Rare Exports: A Christmas Tale (2010)
Twas the Night Before…
The young son of a reindeer rancher learns that the legend of Santa Claus is both darker and more real than he could ever imagine when the blasting of a local mountain reveals something with an unrelenting hunger for children.
Naughty or Nice?
With one of the most unique representations of Santa in cinematic history and a strangely fairytale like vibe, this Norwegian export is quite nice.
A Christmas Horror Story (2015)
Twas the Night Before…
An anthology film that interweaves stories, ala Trick r Treat, albeit with a Christmas theme, these range from the expected Krampus, Santa and evil elves to less obvious fare like haunted schools and ghosts.
Naughty or Nice?
While this is just about as Christmas-horror themed as you can possibly get, the story quality is a little uneven, as befits most horror anthologies. Call it a little naughty but nice enough.
Gremlins (1984)
Twas the Night Before…
A young boy gets an early Christmas gift from his inventor dad, breaks the seemingly innocuous rules and proceeds to unleash pure chaos on his sleepy town.
Naughty or Nice?
Nice (with a mischievous Stripe). From the setting to the soundtrack to iconic seasonal imagery, nothing screams Christmas like this classic, although Phoebe Cates’ unforgettable reason for hating the holiday will always be hard to beat.
Christmas Evil (1980)
Twas the Night Before…
After a traumatic incident as a child at Christmas, a boy grows up to be a disturbed young man with a Santa fixation and a very definite (and bloody) notion of naughty and nice.
Naughty or Nice?
Nicer than you’d think. As a character study, this is much more Taxi Driver than Friday the 13th and the whole film is genuinely weird and more than a little creepy. An underappreciated Christmas classic.
The Nightmare Before Christmas (1993)
Twas the Night Before…
After Jack Skellington, the undisputed king of Halloween Town, discovers the joy and wonder of Christmas Town, he’s determined to replace Santa Claus and rule that holiday, as well, consequences be damned.
Naughty or Nice?
As nice as they come. While some may argue that this Selick/Burton staple is team Halloween, I argue that it’s also as Christmas as Santa at Macy’s.
Black Christmas (1974)
Twas the Night Before…
When a sorority house is targeted by a heavy-breathing psycho on Christmas Eve, they’ll learn the true meaning of holiday horror and the importance of a good home security system.
Naughty or Nice?
Very nice. Bob Clark has the dubious distinction of helming two of the most iconic Christmas films out there: A Christmas Story and this much less kid-friendly classic. Chock-full of both colorful Christmas imagery and intense chills, this is an easy holiday staple and required viewing for horror fans.
El dia de la bestia (1995)
Twas the Night Before…
After a priest discovers that the Antichrist is arriving on Christmas, he decides that he must sin as much as possible in order to learn the exact location and enlists the help of a slovenly metal-head to become as bad as he can in as short a time as possible.
Naughty or Nice?
Nice but in the naughtiest way possible. Spanish auteur Alex de la Iglesia is a master of provocation and his perverted Nativity parody is one of his most provocative, despite also being one of his funniest. Call it Priests Behaving Badly but that finale is gut-wrenching.
Christmas Bloody Christmas (2022)
Twas the Night Before…
A Santa robot built with military hardware goes on a killing spree in a small town on Christmas eve and the only hope for humanity is a record store owner and her awe-inspiring drive to stay alive by kicking some major Robo Kringle ass.
Naughty or Nice?
Super nice with that classic Joe Begos edge. Although CBC isn’t perfect, it’s hard to care when the Christmas carnage (and smart-ass humor) are flying at the screen as fast as possible. Quite possibly the greatest killer Santa robot film that will ever be made.
Anna and the Apocalypse (2017)
Twas the Night Before…
As a high school girl wrestles with young love and the terrifying notion of leaving her dad and small town life behind for college, she also has to deal with a zombie outbreak at Christmas time. And sing, of course, since this is also a musical.
Naughty or Nice?
As sweet and nice as sugar-plum skulls. This is a fantastic modern musical, with a solid group of catchy, memorable tunes, that also doesn’t shy away from some pretty intense, holiday-themed zombie gore.
Dial Code Santa Claus (1989)
Twas the Night Before…
In a plot that might sound familiar, a young boy is home alone on Christmas and must defend himself from a sinister intruder by way of a system of elaborate booby traps and Rambo-inspired defenses. The intruder? A very deranged Santa Claus.
Naughty or Nice?
Nice with a side of what-the-fuck-did-I-just-see? This film is easy to describe but hard to really explain: suffice to say that few “kids in peril” films go as far as this does but even fewer give their child leads the kind of action hero status that this does.
Silent Night (2012)
Twas the Night Before…
It’s Christmas and an annual Santa Claus parade is the perfect setting for an insane Santa psycho out to kill any “naughty” people that he comes across.
Naughty or Nice?
Mostly nice. Despite the enthusiastic, imaginative gore and impressively black sense of humor, this is a little rough around the edges and leans hard into its B-movie aesthetic.
Dead End (2003)
Twas the Night Before…
A dysfunctional family takes the wrong shortcut through the woods, while driving to grandma’s house on Christmas eve, and become trapped in an escalating nightmare of bad choices and ghostly vengeance.
Naughty or Nice?
When your cast includes Lin Shaye and Ray Wise, you’re guaranteed a place on the Nice list. This subtle chiller definitely loses impact on repeat viewings but the cast and creepy atmosphere never disappoint.
Silent Night, Bloody Night (1972)
Twas the Night Before…
When a lawyer and his girlfriend go to check out the creepy mansion he just inherited, they discover that an ax murderer has taken an interest in the former asylum, too. As expected, bloody shenanigans ensue.
Naughty or Nice?
Dreadfully, drearily naughty. This tedious and thoroughly unbelievable dud is barely a Christmas horror film and deserves as many lumps of coal as possible. If you can keep your jaw from dropping in disbelief over the “twist” ending, you’re better than me.
Don’t Open Till Christmas (1984)
Twas the Night Before…
In jolly old England, a killer Santa is targeting other Santas at Christmas time, dispatching them in various gorily inventive ways.
Naughty or Nice?
So naughty, it’s nice. Pretty much the definition of a sleazy, grindhouse flick, this genuine oddity often feels like an unholy union of Ed Woods and HG Lewis but it’s endlessly fun and would probably be a hit with an inebriated holiday crowd.
The Children (2008)
Twas the Night Before…
A cozy, post-Christmas gathering at a quiet English country estate turns into a bloody battle for survival when a mysterious virus causes the children to turn against the adults.
Naughty or Nice?
A little of both. While this is an undeniably effective entry in the decidedly small “children killing adults” subgenre, it’s also not really a Christmas movie (call it a New Year’s film, if anything) and is often a little rough around the edges.
All the Creatures Were Stirring (2018)
Twas the Night Before…
Another Christmas-themed anthology, this time featuring a wraparound where the individual segments are live theatrical pieces being watched by a couple at the theater.
Naughty or Nice?
Mostly very naughty (almost dreadfully so), although the final short is easily the best of the lot and the wraparound segment has a really great payoff. In general, though, this was pretty bottom-of-the-barrel, ultra cheap fare.
To All a Goodnight (1980)
Twas the Night Before…
On the anniversary of a former member’s hazing death, a group of sorority sisters and their guy friends hang out on campus, during the winter break closure, and run afoul of a black-gloved killer.
Naughty or Nice?
Nice enough, although this never really rises above the status of a typical ’80s slasher and there isn’t a ton of Christmas imagery or themes. Plenty of goofy fun, though, and the whole thing has a weird “after-school special” vibe.
Silent Night, Deadly Night Part 2 (1987)
Twas the Night Before…
Following the events of the first film (seen via copious replayed footage), insane Ricky escapes from the mental hospital to continue his Santa-suited brother’s reign of terror. It’s Garbage Day, ya turkeys!
Naughty or Nice?
Very nice. While I would struggle to call Silent Night, Deadly Night Part 2 a great film, I have no problem whatsoever calling it a tremendously fun, goofy and endlessly memorable one that will light up any holiday party or get-together. A cult legend for a good reason.
Night of the Comet (1984)
Twas the Night Before…
When a couple of Valley Girls seem to be the only people in their area not turned to dust by a passing comet, they do the only thing sensible and party like it’s 1984, despite the looming presence of sinister mad scientists and various zombies.
Naughty or Nice?
Just about as nice as they come, despite the Christmas horror connection being a bit slight: we do get a pretty iconic appearance from Santa, however, and enough holiday imagery to pave over the potholes. That being said, Night of the Comet is one of the very best of the ’80s, Christmas-themed or otherwise.
Krampus (2015)
Twas the Night Before…
As a dysfunctional family gathers for a snowy Christmas, they don’t count on one uninvited guest: Krampus. Will Krampus and his horrifying minions teach these miserable people the true spirit of the season or are these lost causes doomed to something far worse than death?
Naughty or Nice?
Very nice. It’s only fitting that Michael Dougherty’s Krampus would be a great Christmas horror film since his Trick r Treat is one of the best Halloween films ever. While this isn’t quite as good as Trick r Treat, all the trappings are there to still make it one of the most quintessential Christmas-themed horror films.
Adult Swim Yule Log (aka The Fireplace) (2022)
Twas the Night Before…
What begins as a typical yule log video soon spirals into a hallucinatory, brain-melting and genuinely horrifying dive into “cabin in the woods” insanity that needs to be seen to be believed.
Naughty or Nice?
Umm…both? Neither? While The Fireplace isn’t a very good Christmas horror film (initial subject notwithstanding, there is almost nothing seasonal about the film at all), it is one of the most impressive, pioneering horror films of 2022.
Who Slew Auntie Roo? (1972)
Twas the Night Before…
Every Christmas, local philanthropist and former entertainer “Auntie Roo” invites a select group of children from the local orphanage to her sprawling mansion for a truly magical Christmas celebration. When a rather naughty brother and sister sneak a ride to the manor, however, they’ll kick off a twisted version of Hansel and Gretel that will lead directly to horror.
Naughty or Nice?
Just nice enough. Although this odd film nails the Christmas theme pretty well, it’s only nominally a horror film, although the disturbing finale and certain revelations definitely do the trick. Think of it more as a really twisted fairy tale and you’re in the right ballpark.
Sint (2011)
Twas the Night Before…
On December 5th, under a full moon, evil Saint Nicholas rises from the dead to bring terror to the streets of Amsterdam, along with his army of undead helpers. It’s up to one very traumatized and Christmas-hating cop to try and stop him before the streets run red…with blood!
Naughty or Nice?
Unfortunately, this otherwise quite nice entry in the always fun subgenre of evil St. Nicholi (plural of Nicholas?) films also casually depicts a racist local custom with zero commentary or explanation, making it both difficult and problematic to recommend this, despite the warning about “changing times” that opens the film.
Better Watch Out (2017)
Twas the Night Before…
During the holidays, a teenage babysitter must protect her very precocious young charges from menacing home intruders.
Naughty or Nice?
Very nice. This devious little Christmas carol features several good twists, a vibrant, cheery setting (to offset the bloodletting) and an enthusiastic young cast doing some very solid work. Krampus would definitely approve.
Well, well…so we meet again! Welcome back to the VHS Graveyard as we ring in the new year with our first new post since 2020. With so much changed in the world, your humble host almost feels like poor Charlton Heston did when he realized that the apes found a way to transport the Statue of Liberty back to their home planet.
I say almost but not quite for a very good reason: ol’ Chuck’s dead and the Graveyard is just shaking the dust off its bones.
What have we been up to since the last time? If you guessed screening as many films as we can get our ghoulish hands on, then you guessed correctly. One of the (many) things that the pandemic brought was a veritable glut of streaming options: even when new releases didn’t go directly to one of the myriad services, it was a foregone conclusion they would get there sooner rather than later.
Another new development in the past several years was the advent of the streaming film festival. While I (virtually) attended a couple different ones, the standout winner was always the Chattanooga Film Festival: several of my favorite genre films of the past couple of years have come straight from the CFF and it’s definitely been a highlight of some very up and down times, in general. My hat’s off the organizers.
The Graveyard also decided to get into the festive spirit a bit more this past year with the inaugural version of Ho Ho-Horror. The goal was to screen 24 Christmas-themed horror flicks between December 1st and Christmas Eve (not necessarily one a day, unlike our October screenings) and the whole thing went down without a hitch. While it might be difficult to continue this tradition for too many years without needing to double-dip our chips, I feel like there’s still enough untapped evil Santa films to see us through Part 2 in 2023.
Long-time visitors to the Graveyard will know that Best of lists for us are like midnight snacks to a Mogwai, so be sure to stay tuned for our upcoming breakdown of the best horror (and non-horror) films that we screened last year, along with the films that were most looking forward to in this freshly-born year.
And, of course, where would we be without our beloved 31 Days of Halloween? Keep the dial tuned for a recap of the 2022 version, as well as a possible peek into this year’s iteration.
But wait…there’s more! For the first time, your grotesque videotape grave-digger will be straying from the usual recaps to provide more standalone pieces about unsung filmmakers, under-seen gems and sub-genres and deep dives into the kinds of strange things that keep our hollow head filled with questions and wonder.
Might there even be other surprises in store? Perhaps! Perhaps, indeed! Like any promising old VHS tape that you might find at a shady, ominous yard sale, however, the only way to find out is to give us a shot and hope that we don’t infect your machine with ghost cooties.
After a slower start to Day One than I expected, it was time to step my game up for the remainder of the festival: I only had three more days to get through 23 films, after all. To that end, I screened six films on the second day, including another one of those pesky “instant classics.” Like I mentioned earlier: there was no shortage of quality films at this year’s Chattanooga Film Fest…just a shortage of hours in the day.
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Dementer
Indie writer/director/producer Chad Crawford Kinkle first landed on my radar with his excellent, backwoods creeper Jughead way back in 2013, so I was pretty excited to find out he had a new film hitting the festival circuit. When I saw indie auteur Larry Fessenden’s name in the cast, well, let’s just say that pretty much sealed the deal: one of the titans of independent cinema reuniting with one of its most promising indie up-and-comers? Done and done.
Kinkle’s ultra-naturalistic new film follows a troubled young woman (Katie Groshong) as she tries to piece her life together after a truly horrible trauma ripped it to shreds. Living out of her car and with no resources, Katie finds a job at a care facility for adults with special needs and comes to care deeply for one of her charges, Stephanie (Kinkle’s real-life sister), a young woman with Down Syndrome. Just as Katie begins to become comfortable in her new life, terrible flashes of her past begin to interject themselves, leading her to wonder if a truly evil figure (Fessenden) has returned to target poor Stephanie or whether Katie has finally lost the last frayed edges of her sanity.
Unlike Kinkle’s more polished debut, Dementer is pretty much the definition of no frills, low-budget indie filmmaking. Cinematographer Jeff Wedding shoots the film in such a way that, when combined with the mostly non-professional cast (the film is set at what appears to be an actual care facility and features the staff and residents), achieves a startling degree of realism. At times, I was reminded of something like Henry: Portrait of a Serial Killer, if for no other reason than their shared ability to completely demolish the barrier between film fiction and reality.
This is also an extremely personal project for Kinkle since his real-life sister, Stephanie, stars as the woman that Katie tries to save from sinister forces. As such, the film never feels disrespectful of the residents of the home and nothing about it feels forced or exploitative. If anything, the various residents all receive ample opportunities to express themselves in the film, resulting in a work that feels notably character-driven for an ultra-low budget horror film. It’s something that I wish all films took the time to do, regardless of genre or finances.
All that being said, I must confess that I did not love this film, despite my deep respect for it. While the setting provides for an unbeatable atmosphere of reality, too much of the film involves Katie’s various duties around the care facility, broken up with regular interjections via flashback. After a certain point, it develops a pattern and becomes rather predictable, making the film seem repetitive on a narrative level. I also felt that the drama elements worked better than the horror ones: they felt more authentic and, ironically, interesting (workday routines not withstanding), although Fessenden was a force to be reckoned with whenever he was on-screen. Call this a near miss for me, although I eagerly await Kinkle’s next film.
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The Ringing Bell
Poor Judah (Brandon Cole) has a bit of a problem: he’s a lucid dreamer and having an impossible time telling his vivid waking dreams from reality. This inability to tell fact from fantasy is messing with not only Judah’s ability to process grief (someone close to him is gone) but also with his participation in an ill-advised bank robbery concocted by his cousin, Brona (Anieya Walker), and her on-again/off-again lover, Orva (Joelyn Dormady). Will the contents of the mysterious box they seek have the answers that Judah is looking for or will the pursuit of forbidden knowledge be the downfall of them all?
It’s quite obvious that The Ringing Bell is a very personal project for multi-hyphenate filmmaker Casey T. Malone. He says as much, in a festival intro, but he also serves as writer/director/producer/editor/score composer and cinematographer: that’s a lot of hats to wear, especially when the subject is personal pain, grief and loss. As such, there’s a weight to The Ringing Bell that you don’t often get in low-budget genre films, especially those rare ones that are fantasy-leaning.
The other thing you will remember about this film long after it’s over is how amazing so much of it looks. Combining animated sequences, surreal live-action and stop-motion effects, The Ringing Bell is, without a doubt, a truly singular, imaginative, mind-boggling film. I’m not sure if Malone was involved in the animation and effects or if that was the work of John Baker (creature designs) and Fred Franczak (production design) but whoever did it absolutely blew my mind, especially when you consider that this was most likely another very low-budget production. There’s a monster effect, at one point, that’s easily in my Top 20 moments of the year. Not all indie films have a discernible sense of style and design but The Ringing Bell brought enough for the whole class.
Here’s the thing, though: as much as I loved the film’s look and sense of surreal imagination, I’m pretty hard-pressed to tell you what it was actually about. Despite watching the film closely and being fully engaged, I still have no idea who Judah was mourning (or why), which made it difficult to get into his mindset. I have a feeling that much of the film was supposed to exist in a dream logic realm but I found myself along for the ride more than actively engaged. When combined with a particularly quiet sound mix that made it difficult to hear dialogue, too much of the film became the equivalent of visual interludes strung together.
Perhaps repeat viewings would prove beneficial in this case: I’m sure that I missed something that would have cleared up a few loose ends for me. It’s obvious that Malone and company brought a lot of passion and innovation to The Ringing Bell, even if it never fully clicked with me. I’m more than willing to see what they have up their sleeves next time around.
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Koko-di Koko-da
As I mentioned earlier, most of the films playing at this year’s CFF were complete unknowns to me, but there were a few exceptions, chief among them being Swedish writer-director Johannes Nyholm’s Koko-di Koko-da. While I had purposefully avoided spoilers, I’d read enough advanced press on the film to know that it was being heralded as disturbing and surreal. Turns out, the critics hit it right on the nose.
Existing in the same general vicinity as the works of Alex van Warmerdam, Lars von Trier, Michael Haneke and Yorgos Lanthimos, Nyholm’s thought-provoking sophomore feature plays out like a truly horrifying, demented fairy tale. Tobias and Elin (Leif Edlund and Ylva Gallon) take a camping trip and try to work on their collapsed marriage three years after a horrible tragedy destroyed their family and future happiness in one, fell swoop. As if trying to repair a fractured relationship isn’t hard enough, however, they soon discover that they’ve chosen a rather unfortunate place to set up camp, managing to cross paths with a trio of demented individuals who are only too happy to teach them a truly twisted lesson. And then things get really strange.
Right off the bat, let me issue a gentle warning: this is one severely fucked up film. Engaging in the same sort of psychological terrorism that’s been von Trier’s stock in trade for his entire career, there are elements of Koko-di Koko-da that will stick to your brain like plankton, whether you want them to or not. By turns powerfully sad, disturbing, odd, disgusting and eye-opening, Nyholm’s film makes a perfect compliment to works like Funny Games, Borgman, Antichrist and The Killing of a Sacred Deer. If there are not moments in this film that don’t absolutely sting you to your core, I daresay that you didn’t pay much attention.
From a production standpoint, the film is immaculate: Nyholm achieves a completely immersive sense of icy-cold magical-realism that makes one feel as if they’re taking an (unfortunate) look into a parallel universe that’s as beautiful as it is terrible. Cinematographers Tobias Holem-Flyckt and Johan Lundborg shoot some gorgeous images, including plenty of amazing overhead shots that turn the film’s repeated theme into something of a museum diorama: it’s awesome stuff and something I never got tired of. Combine this with Pia Aleborg’s insanely detailed production design and Koko-di Koko-da is a world that you never tire of looking at, even if it’s never a place you want to visit.
The acting is all top-notch, with heart-breaking performances from Edlund and Gallon that are almost too real and painful to be anything close to entertaining. The ghastly trio, bemusing as they are, are perfect antagonists, coming off as a bit of a marriage between Rob Zombie’s Firefly clan and van Warmerdam’s invasive Borgman. While the cast is small (essentially five people, two dogs and a cat), it plays in perfectly with the film’s general sense of isolation and alienation.
Is Koko-di Koka-da a well-made film? Without a doubt: in fact, I daresay it’s one of the best films of the year, from a purely technical standpoint. Is it a good film? Depending on your tolerance-level, I’d go so far as to say that it’s a great film: Nyholm has a singular vision and executes it perfectly. Is it a film that I intend to revisit any time soon? Not a chance, friends. Even as I type this, images and scenes keep popping into my head, none of which I’d prefer to remember. Like the best (most difficult?) works of the aforementioned filmmakers, Koko-di Koko-da is an uncompromising, unpleasant and unforgettable deep dive into the misery of the human condition. You won’t see much gore on display here but the characters are skinned and filleted, nonetheless.
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This takes us through the first half of Day Two: in service of trying to break up a rather considerable chunk of text, I’ve opted to split the screenings into two posts. Tune in for the remainder as we continue to move through our experience at this year’s Chattanooga Film Festival. As always, boos and ghouls, stay safe and remember: there’s always room for one more at The VHS Graveyard.
As usually happens at festivals, Day One is all about getting your bearings, making plans and easing into the serious business of having fun. As such, my first day at the Chattanooga Film Fest only involved three full lengths, four shorts and about 45 minutes of a filmmakers’ commentary session (full disclosure: I guess I’m not super fond of talking during a film regardless of who does it). I’d make up time in the following few days, however, and that’s really all that matters when you’re playing the long game.
Ultimately, though, it’s about quality and there was no shortage of that on display. Let’s start everything in earnest now, shall we? With no further ado, in order, I present my Friday screenings from this year’s Chattanooga Film Festival.
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Attack of the Demons
As outsiders descend on the small Colorado town of Barrington for its annual Halloween/battle-of-the-bands festival, we see that all isn’t quite as hunky-dory as it seems. In particular, one robed stranger has literally brought Hell to town in the form of a virulently infectious demonic plague that brings gruesome death and even more gruesome rebirth to all it touches. The only hope for the world lies in the hands of a group of survivors brought together by fate and a desperate need to escape…the Attack of the Demons!
As with nearly every film I screened during the festival, I knew nothing about Attack of the Demons before I actually sat down to watch it, aside from the fact that is was animated. Within moments, I was hooked. By the end credits, the film had entered that rare ground that I like to call “Instant Classics.” There haven’t been many of them but this is most certainly one of those.
What makes director Eric Power’s homage to horror of all eras so unforgettable? In this case, the answer is in the attention to detail. While Attack of the Demons utilizes the same sort of “moving paper” style that South Park has made so famous, the filmmakers have packed every inch of the film with so many lovingly rendered details that it makes the whole thing feel impossibly alive and practically demands repeat viewings. From the intricacies of the various humans, demons and animals presented to all the truly amusing in-jokes that reference not only horror but music (the obviously Misfits-inspired Banshee Riders are as brilliant as the amazing ’70s Italian horror flick that we glimpse), there’s almost too much to take in on the first go.
None of the cool details would mean a thing if everything else in the film wasn’t firing on all cylinders but this is the complete package: the voice acting is excellent and nuanced, the score is brilliant (one of the best Carpenter clones I’ve heard yet), the editing, writing and production elements are all top-notch, the humor and horror halves are perfectly balanced (the film is consistently funny) and it’s quite obvious that the filmmakers dearly love horror. While I’ve heard this described as “South Park meets Evil Dead,” I actually got more of a Demons vibe (lots of references to Italian horror) mixed with lots of The Thing. For all you gore-hounds out there, just know that this thing is so splattery, if it were live action, it might out-do Peter Jackson’s immortal Dead Alive.
This was the kind of movie that I never wanted to end which, if you think about it, is really the best kind of film. Suffice to say that I’ll keep my beady eyes fixed on Power and company from now on: this is as close to a perfect film as it gets, at least as far as I’m concerned.
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The Vice Guide to Bigfoot
Opting to keep the mood light, I decided to follow with one of my favorite sub-genres: the mockumentary. As with the best of these kinds of films, the plot is as streamlined as necessary: egotistical, jackass Vice reporter Brian (co-writer Brian Emond) and his put-upon producer/cameraman/friend Zach (director/co-writer Zach Lamplugh) are sent to the wilds of Georgia to meet up with cryptid hunter/YouTube celebrity, Jeff (Jeffrey Stephenson), and hunt for Bigfoot. The problem? Smart-ass Brian thinks this is all a bunch of click-bait bullshit while goofy Jeff truly believes. When strange things start to happen in the woods, will this be the proof that Jeff needs or Brian’s chance to finally crack a “real” story?
Finding the perfect balance between snide and sincere, Lamplugh and Emond’s film is not only smart and well-made but genuinely funny and full of plenty of surprising, organic twists and turns. The characters all end up being so well-developed and likable that the film develops real stakes by the seat-of-your pants finale, something that many horror-comedies struggle with: you come to care about all of these idiots so much that you really don’t want anything bad to befall them, regardless of how stupid they behave. The horror aspect, while not overpowering, was still nicely realized with some surprisingly effective touches of gore.
Where the film really excels, however, is with the deftly handled humor. Whether coming from Brian and Zach’s push-me/pull-you relationship, the subtle skewering of YouTube/Soundcloud celebrities, Jeff’s general buffoonery or Brian’s essentially caustic view of anything that isn’t him, there’s a lot of funny stuff being thrown at the screen and the vast majority of it works, especially once we get to that bonkers finale.
Perhaps the highest praise that I can give The Vice Guide to Bigfoot, however, is that I would love to see this become a franchise: while the film isn’t perfect, these are the kinds of characters I want to spend more time with. Hell, The Vice Guide to the Jersey Devil is playing in my head, as I type, and it’s great. Talk about the power of cinema!
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The Beach House
After a couple of comedies, it was finally time to get into the serious stuff and writer-director Jeffrey A. Brown’s The Beach House was one that had me intrigued based on the synopsis alone. It promised to be weird and creepy, two things that have me responding faster than Pavlov’s pooch.
A couple with relationship issues decide to get away from the world at a secluded beach house owned by the guy’s family. Once there, however, they discover that they aren’t alone: a couple of family friends are already there, although they’re only too happy to share the gorgeous ocean view. While this seems a little odd, the intense bio-luminescence and gathering fog outside seem even odder still. And then things get really weird.
Recalling films as diverse as Richard Stanley’s recent adaptation of The Color Out of Space, Invasion of the Body Snatchers, Darren Aronofsky’s Mother! and The Mist, Brown’s feature-length debut is quite the accomplished bit of filmmaking. In fact, cinematographer Owen Levelle might just have provided us with some of the most singularly gorgeous shots of the whole year: there are moments in The Beach House, like the opening deep dive to the ocean floor, that truly take your breath away. The sound design, editing, production design and performances are all apiece with the camerawork, making this one of the most immaculately crafted movies I’ve seen in some time.
And yet, for all that, I didn’t love The Beach House. Despite being thought-provoking and visually lush, I also found it a bit overlong and repetitive: I also wasn’t fond of a particular story element, something that I felt was a little below the film’s overall reach. If the worst thing you can really accuse a film of is doing things that you don’t agree with, however, than the film must inherently be doing something right. There was a lot to like here and somethings that I’ll never forget: the scenes with the bio-luminescence, for example, probably rank with some of the most awe-inspiring things I’ve ever seen in a film. I predict a very interesting career for those involved: this was a helluva calling card.
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While I didn’t get through quite as many features as I wanted and barely even scratched the surface of the other content, this first day of the CFF would bode well for the days ahead. At this point, there was still 23 films to go: who knew what was in store? Stay tuned, dear readers, and find out.
At long last: the fifth and final week of the annual 31 Days of Halloween! For the final three days, we screened three films, all of which are personally beloved classics: when it comes down to it, you really can’t go wrong with some classics.
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Night of the Living Dead (1968)
Although it seems rather hard to believe, the proof is in the pudding: George Romero’s landmark Night of the Living Dead really did turn 50 years old this October. They must’ve built ’em to last back then because the film still retains all of its power today, despite the technological, cinematic and special effects achievements in the following decades. The farmhouse is still claustrophobic, the violence is still jarring, Duane Jones’ Ben is still a helluva hero and that ending is still a real gut-punch.
It’s tempting to allow NOTLD to fade into the background: after all, it’s (unintentional) public domain status has made it one of the most ubiquitous horror movies of all time. How many films can you name that feature a scene where Romero’s black-and-white shocker is playing on a TV somewhere? Like the original Universal monster films, Night of the Living Dead is one of those films that has come to define the horror genre. The repercussions of this modest little indie are still felt throughout the film and television industries fifty years later: if that’s not testament to the immortality of this unbeatable icon, then I don’t know what is.
This time around, I found myself drawn to NOTLD’s simplicity and sense of isolation. This is certainly a situation where the non-existent budget led to a “less is more” approach that created a truly unforgettable environment. Future “Dead” movies would revel in clutter and background detail to an occasionally distracting degree but the sparseness found here is as essential a character as the zombies or doomed humans.
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The Nightmare Before Christmas (1993)
If there was any particular theme for this last week of October, I suppose it might loosely be seen as “films that represent the season.” While Night of the Living Dead might seem an imperfect fit, who would argue against Tim Burton’s (via Henry Selick) delightful classic The Nightmare Before Christmas as being one of the very best Halloween films ever?
In truth, this tale of Jack Skellington and the merry citizens of Halloween Town, pretty much has it all: thrills, chills (Oogie Boogie is a genuinely creepy dude), laughs, great songs, a rousing score, romance, drama, more Halloween and October imagery than you can shake a femur at and even a little Christmas (if that’s your bag).
The film has aged exceptionally well (certainly better than much of Burton’s 2000s-era output) and continues to bear all the hallmarks of a classic: I look forward to watching this little jewel for many, many Halloweens to come.
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Trick ‘r Treat (2009)
If you’re going with “horror films that symbolize Halloween,” there’s just no way you’re not talking about Michael Dougherty’s much-delayed, insta-classic Trick ‘r Treat. The stuff of legend before it was even (belatedly) released, Dougherty’s anthology film is, in many ways, the quintessential Halloween film: it’s not just a film set on Halloween, it’s a film about Halloween and all of its traditions, norms, expectations and spirits.
From age-old traditions like trick or treating to even older ones like contacting the dead, Trick ‘r Treat is a ghastly, candy-colored primer on All Hallow’s Eve. Each of the interconnected tales (think of this as the horror version of Pulp Fiction) is built organically around the autumnal oranges and funeral blacks that make up the culmination of October’s promise, the reason for the season: Halloween.
There are many films that could be screened during October and on Halloween: the list is so much longer than anything we could possibly program in a single month of viewing. In that list, however, there are precious few films that truly symbolize Halloween in the same way that Michael Dougherty’s Trick ‘r Treat does. There is a genuine love and admiration for the holiday and season that you don’t find in many places. Trick ‘r Treat isn’t about Halloween: Trick ‘r Treat IS Halloween…that’s a mighty big difference.
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And with that, we come to the conclusion of this year’s 31 Days of Halloween. We managed to screen 27 films across 31 days, so we didn’t quite hit our goal for the year. Despite that, we did manage to screen several intriguing new films, including rather unforgettable fare like Can Evrenol’s Housewife, the new Puppet Master film and killer parent epic Mom and Dad. Just as important, however, we revisited old favorites like Halloween, Night of the Living Dead and Nightmare on Elm Street 3: The Dream Warriors, proving that there’s nothing quite like your favorite films during your favorite time of the year.
Stay tuned for end of the year wrap-ups as The VHS Graveyard begins to bid adieu to 2018. As always, thanks for reading!
As promised, we return with Week Four of the 31 Days of Halloween. We came up a little short on titles, for this particular week, and what we did screen definitely leaned towards the “classics” end of the spectrum, including one film that hadn’t been seen for quite some time. This week did include one new film, however, as well as one of the VHS Graveyard’s favorites. Take a trip with us now to that bygone time last month, as the Halloween train starts to approach its final destination.
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Tales of Halloween (2016)
As far as I’m concerned, it’s gonna take one helluva film to unseat Michael Dougherty’s Trick ‘r Treat from its current position as the ultimate Halloween-themed horror anthology. The multi-director/writer Tales of Halloween isn’t that film but that doesn’t stop it from being the second best Halloween-themed horror anthology out there.
By virtue of its format, Tales of Halloween isn’t a perfect film: a couple of the shorts were bound to be duds. When the shorts work, however, as in the case with Mike Mendez, Darren Lynn Bousman and Neil Marshall’s contributions, they work spectacularly well. Mendez’s short, “Friday the 31st” may just be one of the cleverest, best horror shorts I’ve ever seen and the central gag never wears thin with me. Most importantly, the whole anthology screams “Halloween” from the first frame to the last, making this somewhat of a no-brainer as far as seasonal programming goes.
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Holidays (2016)
Another anthology film, this time based around various holidays. We get a wide-range of holidays (Valentine’s Day, St. Patrick’s Day, Easter, Mother’s Day, Father’s Day, Halloween, Christmas and New Year’s Eve), a wide-range of directors (including Starry Eyes’ Kevin Kolsch and Dennis Widmyer, The Midnight Swim’s Sarah Adina Smith, indie auteur Kevin Smith, The Pact’s Nicholas McCarthy and Some Kind of Hate’s Adam Egypt Mortimer) and a wide-range of results: pretty much par for the course with any anthology film.
While this definitely ends up on the lesser end of the spectrum, there is still much to laud here: the chronological structure works really nicely, the production values are pretty consistent and a few of the shorts (St. Patrick’s Day and Easter, in particular) are quite disturbing. That being said, there are definitely better horror anthologies out there, including the previously mentioned Tales of Halloween.
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Night of the Demons (1988)
It’s probably been at least a decade and a half since I’ve seen this fun little cult flick, so I figured that this year was as good as any to revisit Angela and her deadly shindig. Although nothing about Night of the Demons is necessarily amazing, it ends up being one of the more cohesive, well-made Evil Dead ripoffs to clog video store shelves in the late ’80s/early ’90s.
This age-old tale of teens partying in the wrong abandoned mortuary (is there really a right kind of abandoned mortuary?) features lots of ’80s staples: hair metal on the soundtrack, stereotypical characters (punker Stooge is a real riot), loud musical stingers, unnecessary slo-mo, scream queen Linnea Quigley, teenagers that are at least 25 years old, lots of gory effects and tons of questionable decisions. It’s fast-paced, goofy, a little odd and, as previously mentioned, lots of fun. It also gets bonus points for being set on Halloween night, making it a great choice for October viewing. Classic film? Not really. Worth your time? You betcha!
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Summer of ’84 (2018)
I wasn’t a huge fan of Turbo Kid (2015), to be honest, finding the film a bit heavy-handed with its ’80s worship and possessed of a few too many obnoxious characters for my taste. This is only relevant because the team behind Turbo Kid (writer/directors Francois Simard, Anouk Whissell and Yoann-Karl Whissell) have just released a new film, set in the ’80s, and guess what? Yeah…I’m not a huge fan of this one, either.
This time around, we get a film that manages to graft Stranger Things, Rear Window and Cape Fear together and the result is a mixed bag. As with Turbo Kid, the ’80s homages are so heavy-handed as to be almost parody but the characters are more likable and grounded. Much of the film still stretches credibility but never enough to make me tune out. Nothing about this tale of youthful friends trying to stop a serial killer in their sleepy suburban neighborhood is revolutionary or particularly innovative but it gets the job done.
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A Nightmare on Elm Street 3: The Dream Warriors (1987)
Of all the horror franchises, the Nightmare on Elm Street series is easily my favorite. For my money, it’s not only the best, in general, but also the most consistent: while the Friday the 13th, Halloween and Texas Chainsaw Massacre franchises all have strong individual films, they also have plenty of lunk-headed clunkers. Nightmare on Elm Street films might not always have been amazing but they were always solid and supported the same, consistent story-line (ala the Child’s Play series).
The third entry in the Elm Street saga, The Dream Warriors, is easily my favorite in the series, as well as one of my favorite films, in general. I actually got to see the film in the theater, at the very impressionable age of 10, and I can still remember the experience over thirty years later. This one features tons of inventive kills (the marionette, snake and TV being three easy examples), a Freddy who still possesses genuine menace and the final “regular” appearance of Heather Langenkamp’s iconic Nancy. Hell, it’s even got a totally kick-ass ass, hair metal theme song. They truly don’t make ’em like Dream Warriors anymore.
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That finishes off the penultimate week of the 31 Days of Halloween. Stay tuned for the final week and the conclusion to this year’s spooky event. Don’t dig into that turkey just yet, boos and ghouls: that jack o’ lantern still has a little spark left in it!
With no further ado: the films screened during the final three days of the annual 31 Days of Halloween. These final films tended towards the “old favorites” variety but we still managed to sneak in a new, previously unseen film from this year, just to spice it up.
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Tales of Halloween
My very favorite seasonal anthology film will always and forever be Michael Dougherty’s Trick r Treat: he just nails the Halloween vibe so completely and authentically that there’s really no need to look further. That being said, you can only screen the film over so many consecutive All Hallows’ Eves before it begins to lose a smidgen of its precious luster.
That’s where the multi-director/writer effort Tales of Halloween comes in: it may not be the best Halloween-oriented anthology film out there but it’s a pretty damn close runner-up. Although this isn’t quite as unified as Dougherty’s classic, the shorts all take place in the same small town, on Halloween eve, so there’s definitely a little crossover/bleed-over between segments, leading to a nice sense of small-scale world-building. The segments also share the same rich production values and sense of style, so they all fit together visually, as well as thematically.
As with all anthology projects, not all of the shorts are winners but the scale is definitely tipped more towards the successful end of things than in something like The ABCs of Death or V/H/S: in particular, Mike Mendez (Big Ass Spider, Don’t Kill It) and Darren Lynn Bousman (Saw 2-4, Repo: The Genetic Opera) come up with impossibly fun segments that serve as highlights of both their respective careers. Tales of Halloween might not be quite as perfect as Trick r Treat but that’s no reason not to give it a turn in your seasonal programming.
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A Dark Song
Irish writer/director Liam Gavin’s debut, A Dark Song, is an often fascinating (if equally frustrating) treatise on love, loss, vengeance and forgiveness, set within the creepy confines of an isolated Welsh manor house. Grief-stricken Sophia (Catherine Walker) hires prickly occultist Solomon (the always prickly Steve Oram) to help her perform a long, arduous ritual that will (hopefully) allow her to communicate with her murdered son. As the days stretch into months, however, Sophia will come to question not only Solomon’s abilities but her own notions of reality.
Brooding, grim, leisurely paced and bolstered by a truly ominous, portentous score (courtesy of Ray Harman), Gavin’s debut layers on the atmosphere, to mostly good effect. The interplay between Walker and Oram is the real meat of the film and they play off each other pretty spectacularly: if nothing else, A Dark Song features two of the year’s sturdiest performances, hands down. The film also looks consistently great, thanks to Cathal Watters’ truly gorgeous cinematography: full of luxurious wide shots of the stunning countryside but equally comfortable with the dark, claustrophobic interiors of the main house setting, the camerawork is a key aspect of what makes A Dark Song work so well.
Despite all of the above, however, I’ll freely admit that the film’s finale thoroughly mystified me, leaving me with a distinctly unsatisfied feeling as the final credits rolled. While I think I know what happened, I’m really not sure, leaving me feeling as if I missed out on some important detail. To put it in gymnastic terms: Gavin’s A Dark Song nailed the performance but didn’t quite stick that all-important landing.
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An American Werewolf in London
Nearly forty years after it first debuted, John Landis’ landmark An American Werewolf in London (1981) still stands as one of the best werewolf films of all time, with precious few legitimate challengers since. The film is a perfect synthesis of real horror, tension, pitch-black humor, award-winning practical effects and genuinely likable characters: there are no shortage of truly horrifying moments and images in the film but the focus, first and foremost, is always on character and mood over gross-out gags.
Best buddies David (David Naughton) and Jack (Griffin Dunne) are backpacking through the misty British isles when they find themselves at the suitably unwelcoming Slaughtered Lamb Inn. After foolishly ignoring the superstitious locals advice to stay on the road, the dynamic duo stride into the wilds and are attacked by some sort of vicious animal. Jack is torn to pieces and David wakes up in the hospital, full of strange urges and haunted by terrible nightmares. When Jack comes back as a rapidly decomposing body and urges David to kill himself before the next full moon, the fun really begins.
An American Werewolf in London is that rarest of horror-comedies that actually does justice to both sides of the coin without tipping the balance into the silly or slight. There is genuine menace to be found here (the scenes on the moors are just about as good as it gets, as are those truly horrifying nightmares), along with plenty of well-executed action sequences (the Piccadilly Circus setpiece is just perfect) but Landis is, as always, a deft hand with the comedy elements. Dunne gets most of the film’s best lines as the ever charismatic, if increasingly repulsive, Jack but his comic interplay with Naughton forms the backbone of the film. There’s a good reason why this movie is considered a classic: it’s that damn good.
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The Texas Chainsaw Massacre 2
What is the quintessential ’80s horror movie? While there really is no right answer (the discussion would be longer than every 31 Days of Halloween post, combined), there is one film that pretty much sums up the ’80s, for me, and will always stand as one of my very favorite films from that illustrious decade. When I think of ’80s horror, the first thing I think about is always the late Tobe Hooper’s brilliant The Texas Chainsaw Massacre 2 (1986).
Loud, garish, over-the-top and gleefully demented, TCM 2 may seem like an ill-fit to its more low-budget, gritty older sibling but I’ve always seen them as two sides of the same coin. In fact, had the franchise ended with Hooper’s contributions, I daresay it might have been one of the most perfect, singular one-two punches in cinematic history. All of the societal themes that were simmering in TCM’s ’70s have come to a full boil in Part 2’s ’80s, allowing Hooper to poke bloody holes in the dead-eyed capitalism that Gordon Gekko held so sacred. After all, this is a film that sees grubby, gas-station cannibal Drayton Sawyer transformed into an uber-slick, ultra-popular civic leader: all hail the mighty dollar!
There’s so much good stuff here that pulling out highlights is both reductive and nearly impossible. TCM 2 is a virtual catalog of memorable setpieces, locations, characters and insanity: Dennis Hopper bringin’ down the temple via chainsaw…every single scene involving Bill Moseley’s iconic Chop Top…Leatherface “impersonating” L.G…that awesome freeway chase where the family makes frat-boy hash…the Sawyers’ impossibly cool, Christmas light-bedecked underground lair…the list could go on and on.
It’s always mystified me that fans and critics, alike, have savaged The Texas Chainsaw Massacre 2. It may be a very different film from Hooper’s original but it’s an equally masterful piece of filmcraft and deserving of just as many accolades. The saw will always be family, to me, and TCM 2 is an important member of that family.
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And there you have it, folks: the 31 Days of Halloween, 2017 edition. With October now officially in the rear-view mirror, join us as we begin to take a look back at the year, highlighting some of the very best (and worst) that the genre had to offer. Until then, keep it spooky, boos and ghouls.
Better late than never, The VHS Graveyard now presents the four films screened during the fourth week of the recent 31 Days of Halloween. While there might not be many films here, we managed to screen a pretty diverse array, including a couple of brand-new (as of last month, at least) ones. Let the haunting begin!
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1922
In a year stacked to the brim with cinematic adaptations of Stephen King stories, Zak Hilditch’s note-perfect 1922 is easily one of the very best. From the ominous opening image straight through to the fantastic final moment, everything about this exquisite period-piece is top-notch, leading me to one conclusion: this, friends and neighbors, is how you adapt Stephen King to the silver screen.
Beginning in the titular year, in Nebraska, we’re introduced to farmer Wilfred James (Thomas Jane), his long-suffering wife, Arlette (Molly Parker) and teenage son, Henry (Dylan Schmid). When Arlette decides to sell the lions’ share of their 100-acre-property and move to the big city, Wilf decides to kill her and keep the property: after all, in 1922, who’s going to come looking for a missing wife? While the murder, itself, proceeds without a hitch, Wilf must now deal with his son’s guilt over his complicity in the murder of his own mother, as well as the suspicion of those who Arlette planned to sell the property to. There’s also, of course, the little matter of Arlette’s decomposed, yet surprisingly ambulatory body, and the horde of voracious rats that follow it wherever it goes.
In every way, Hilditch’s adaptation of 1922 is the epitome of “the right way” to bring King to the big screen: this lean, mean, no-frills chiller doubles down on craft (the acting, cinematography, score, editing and pace are all flawless) while resisting the need to add unnecessary subplots and bric-a-brac to clutter the narrative. From Jane’s sturdy voice-over narration to the razor-sharp line of pitch-black humor that subtly underscores everything (the bit with the cow and the well might be one of the best, nastiest moments of the entire year), this twist on Poe’s classic The Telltale Heart is easily one of the year’s best horror films, provided you like them smart, bleak and stylish. My advice? Hand Zak Hilditch the rest of King’s short story collections and let him get to work: the dude knows what he’s doing.
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Wes Craven’s New Nightmare
In many ways, the late Wes Craven’s return to the Elm Street that he created can be seen as a dry-run for mega-hit Scream, which would follow two years later. Self-referential, ultra-meta, glossy, bloody and lined with a dry sense of humor, the origins of Scream’s hip revival of the slasher genre are easy to read all over New Nightmare.
For his second foray into the Elm Street franchise after the 1984 original, Craven posits a scenario where the principal actors from the first film (Heather Langenkamp, Robert Englund and John Saxon), along with himself, find themselves smack dab in the middle of their own nightmarish run-in with the real Freddy Krueger (also played by Englund, natch). The whole thing might play as a bit too goofy if New Nightmare wasn’t also the most serious Elm Street film after the original: Craven plays it all fairly lean and mean, keeps the wise-cracking to a minimum and manages to bring much of the menace back to horror’s favorite subdivision.
While I’ll always cherish Dream Warriors and hold it as the pinnacle of the entire series, New Nightmare ended up being a respectable way for Craven to both return to the franchise and put it to an end (for the most part). It’s a smart trick from a filmmaker who had more than his fair share of smart tricks up his sleeve: Craven will be missed.
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Creep
Patrick Brice and Mark Duplass’ Creep impressed the hell out of me when I first saw it, more than living up to the title. This twisted tale of a videographer (Brice) who answers the wrong Craigslist ad and runs afoul of Duplass’ Josef is a claustrophobic bit of insanity that starts odd and ends nightmarishly. The whole film is so simple that it almost sounds like a style exercise: two actors, first-person/found-footage style, no effects, one location (for the most part).
In reality, Creep is a thoroughly unnerving tale of madness that works its way under your skin and refuses to let go. There’s something about Duplass’ performance that transcends acting and becomes something entirely, uncomfortably, different. For much of the film, Duplass plays Josef like the kind of high-maintenance pain-in-the-ass that most of us would relish booting through the ceiling. By the time you begin to notice how truly deranged he is, however, it’s too late for everyone involved, audience included. It’s a film that’s entirely dependent on its performances and Duplass and Brice don’t let down in the slightest.
Creep would be good just based on the performances but the filmcraft is pretty damn seamless, to boot. It’s actually one of the best found-footage films out there, finding some truly surprising ways to mess with perspective and play with the established rules of the sub-genre. The pacing is exquisite and the script (which often seems improvised) is incredibly smart and barbed. In every way, Creep is the epitome of a great film, horror or otherwise.
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Creep 2
Perhaps it was the heavy weight of expectations, considering how much I enjoyed the first film, but I couldn’t help but feel more than a little let down after screening Brice and Duplass’ recently released sequel, Creep 2. Here, unfortunately, is a prime example of how truly difficult it is to replicate what makes a sleeper so special.
We’re reintroduced to good, ol’ insane Josef (Duplass, still great), now going by Aaron but still up to his old tricks. This time around, Aaron is going through a bit of a midlife crisis and has all but lost his former spark for murdering innocent people. “Salvation” comes in the form of Sara (the absolutely fearless Desiree Akhavan), host of a web-series about meeting strange men through Craigslist personal ads. Sara is going through her own existential crisis, as luck would have it, and eagerly jumps into the deep end of Aaron’s psychosis, encouraging him to open up for her ever-present video camera. Who’s playing who, however, and to what end? Has Aaron actually found love? Does Sara actually believe what Aaron tells her? And what about Peachfuzz?
Despite being a solid step-down from the first film, Duplass and Brice still pack plenty of good stuff into the sequel. As before, Duplass’ performance is pitch-perfect and it’s a genuine pleasure to watch him continue to develop and refine his character. Akhavan provides a more than capable foil: Sara isn’t a helpless waif…quite the opposite. She’s actually a crafty, calculating manipulator who may be as fundamentally “damaged” as Aaron, if in slightly more socially acceptable ways. There are plenty of powerhouse scenes to be found (the one where Aaron and Sara doff their clothes in order to be totally open and honest with each other is a real corker) but the climax comes across as silly and unbelievable, while the final coda feels unnecessary and forced.
That being said, I’ll still be first in line for Creep 3 (this was originally announced as a trilogy). Missteps notwithstanding, Creep 2 was odd, uncomfortable, unsettling and more than a little thought-provoking: here’s to hoping that Brice and Duplass can give this modest little franchise the send-off that it truly deserves. Creep 2 is good but they can do much better.
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Stay tuned for the final week of The 31 Days of Halloween, including the day of honor, itself.
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