Browse Category

Horror

Blu-ray: Universal Classic Monsters: Complete 30-Film Collection

Universal Classic Monsters: Complete 30-Film Collection (Universal, Blu-ray)

Dracula, Frankenstein’s monster, the Wolf Man, and the Mummy have traversed the trail from horror icon to camp figure and back again and sparked the imaginations of readers and moviegoers for decades. Yet call forth the images nestled in the public consciousness and you’ll find that the figures created by Universal Studios, the home of Hollywood nightmares during the great gothic horror cycle of the 1930s and 1940s, have becomes the definitive versions of the great horror movie monsters.


Universal Pictures Home Entertainment

Universal has been upgrading and repackaging its library of classic monster movies and the franchises they launched through the 1930s-1950s on disc for almost 20 years. This new collection is the ultimate compilation. Previously released on DVD, it offers 4K restorations of all 30 films for Blu-ray, some for the first time. That means not just the bona fide Gothic horror masterpieces and monster movie landmarks previously on Blu-ray individually or in the “Legacy Collection” sets—Dracula (1931) with Bela Lugosi, Frankenstein (1931), The Mummy(1932), and The Bride of Frankenstein(1935) with Boris Karloff, The Invisible Man (1933) with Claude Rains, The Wolf Man (1941) with Lon Chaney Jr., the Technicolor Phantom of the Opera(1943) with Claude Rains, and the post-Gothic, atomic-era Creature From the Black Lagoon (1954) in standard and 3D versions, plus the Spanish language Dracula (1931)—but stand-out sequels such as Dracula’s Daughter (1936) and Son of Frankenstein (1939), the pre-Wolf Man The Werewolf of London(1935), Vincent Price in The Invisible Man Returns (1940), the mad monster parties Frankenstein Meets the Wolf Man (1943), House of Frankenstein (1944), and House of Dracula (1945), and the surprisingly creepy horror comedy Abbott and Costello Meet Frankenstein (1948) among others, with all the commentary tracks, featurettes, and other supplements from earlier DVD and Blu-ray releases.

Continue reading at Stream On Demand

Screaming and Streaming

If I had to trace the origins of my compulsion to seek scary movies for Halloween, I might picture myself in childhood, horrified by a TV broadcast of Disney’s cartoon adaptation of The Legend of Sleepy Hollow. I can still picture the Headless Horseman heaving that flaming jack-o’-lantern right at me. Countless nights spent enthralled by KIRO’s Nightmare Theatrelibrary of old movies didn’t help, either.

On Halloween, one must have horror—which, thanks to streaming, is now at everybody’s fingertips via popular streaming services and more niche ones (the horror-based Shudder or the free-with-a-library-card Kanopy). (Although plenty of great movies aren’t available through streaming—so long live physical media.)

Here are some recommended titles—some brand new, some classic, all currently available streaming or on demand.

New Releases Available for Streaming Rental

Mandy

If it’s still playing in a theater near you, go see it there. Otherwise, this gorgeous movie—your basic psychedelic-backwoods-revenge picture—has been on demand for a few weeks already. If the Oscars ever noticed movies at the grindhouse level, Nicolas Cage and Andrea Riseborough would be nominated for their otherworldly performances, as two recluses whose lives are interrupted by a Manson-like cult. Amazon, YouTube, Google Play

Continue reading at Seattle Weekly

Review: Vampires

[Originally written for Seattle Weekly, November 4, 1998]

Set the wayback machine to 1998. Parallax View presents reviews of films released 20 years ago, written by our contributors for various papers and websites. Most of these have not been available for years.

John Carpenter has wanted to make a western for years. Now he’s finally made it—as a vampire film. It’s not simply the dusty, dusky southwestern setting or the Ry Cooder twinged country blues score. Carpenter turns John Steakley’s novel “Vampire$” into a perverse remake of Howard Hawks’ Rio Bravo by way of Sergio Leone, with James Woods as a foul mouthed, hard drinking, whore-mongering John Wayne leading a wild bunch of vampire hunters. It’s machismo run amuck and Carpenter loves it.

Keep Reading

Review: Psycho (1998)

[Originally written for Mr. Showbiz, December 4, 1998]

Set the wayback machine to 1998. Parallax View presents reviews of films released 20 years ago, written by our contributors for various papers and websites. Most of these have not been available for years.

Is there anybody on this planet who doesn’t know Alfred Hitchcock’s 1960 horror-suspense classic Psycho? Or hasn’t been exposed to its sundry bastard offspring (name any slasher movie), hommage-y imitations (the collected works of Brian De Palma), and sequels (none of them Hitch’s); or the hundreds of jokes it has inspired; or the earnest insistence of any number of aunts, neighbors, or co-workers that, no sirree, they haven’t felt comfortable taking a shower ever since. So there won’t be lots of folks who’ll wander innocently into a theater where Gus Van Sant’s virtually line-for-line, shot-for-shot remake is playing, experience the story of Marion Crane, Norman Bates, and the dark doings at the Bates Motel as something brand-new, and say, “Heavens to Betsy, that took me by surprise!”

Keep Reading

Review: Halloween (2018)

Michael Myers has been coming home for decades now, ever since he rampaged through the town of Haddonfield, Ill., in the 1978 horror masterpiece Halloween. The masked killer was supposed to be locked securely within a psychiatric hospital, but he escaped through many sequels and spin-offs. We’re supposed to forget all about those for the new Halloween, which is designed as a direct sequel to the original. (Then why is the new film titled simply Halloween? I worry about these things.) The creepy opening sequence depicts a Michael who’s been safely imprisoned for 40 years. Someone’s had the brilliant idea to transfer him to a new facility, which of course means putting him out into the world, which of course cannot be healthy for the world.

Continue reading at Seattle Weekly

Blu-ray: ‘Basket Case,’ ‘Ichi the Killer,’ ‘Macon County’ justice, and ‘The Hidden’ with Kyle Maclachlan

Basket Case (Arrow, Blu-ray)
Ichi the Killer (Well Go, Blu-ray)
Macon County Line (Shout! Factory, Blu-ray)
The Hidden (Warner Archive, Blu-ray)

Arrow Films

Basket Case (1982), the debut feature of filmmaker Frank Henenlotter, is a gruesome little cult indie-horror drama of brotherly love and righteous vengeance shot on location in the seedier sections of New York City.

Henenlotter was reared on the cheap horror films of Herschell Gordon Lewis and other independent exploitation directors of the 1960s and 1970s and this is in many ways his tribute to the grindhouse horror films he loves, a low-budget monster movie with a creative twists and an embrace of the grotesque. The monster effects, a mix of puppets, models, and stop-motion animation, may look amateur today but there’s a loving B-movie attitude and a genuine sense of character and tragedy to the misshapen, fleshy, snaggle-toothed Belial, who sees Duane’s growing guilt and desire to connect to other people (notably a girl he’s fallen for) as a betrayal of their bond. A cult classic with an inspired twist on Cain and Abel.Kevin VanHentenryck shuffles through the low budget exercise in grotesquery and gore as Duane, the “normal” brother sent by his deformed, formerly-conjoined twin Belial to take revenge on the doctors who separated the two and left the blobby, grotesquely misshapen brother to die. Most of the effects are shrewdly just off screen, with spurts of blood and gnarly hand dragging the character out of view to feed our imaginations, and a few bloody corpses left in the aftermath (an exception is a pre-Freddy multiple impalement with scalpels).

Continue reading at Stream On Demand

Blu-ray: Dario Argento’s ‘Suspira,’ ‘Cat O’ Nine Tails,’ ‘Deep Red,’ ‘Opera,’ and ‘The Church’

Suspiria (Synapse, Blu-ray)
The Cat O’ Nine Tails (Arrow, Blu-ray+DVD Combo)
Deep Red (Arrow, Blu-ray)
Opera (Scorpion, Blu-ray)
The Church (Scorpion, Blu-ray)

Dario Argento was the master choreographer of the distinctly Italian art of horror known as giallo, was a baroque, often sadistic kind of slasher movie that favors intricately-designed murder sequences and aesthetic beauty over logic. Call him the pop-art fabulist of the slasher movie set. Combining Hitchcockian camerawork, lush, over-saturated colors, rollercoaster-like thrills, and at times surreal situations, Argento could overcome the sadism and misogyny in his gallery of sliced and diced beauties with the sheer cinematic bravura and beauty of the sequences. In his best films Argento delivered murder as spectacle with razor-sharp execution and turned horror cinema into a dream-like spectacle with a dash of sexual perversity. Which may be why his films have a cult following but little popular interest in the U.S., where audiences are more interested in literal explanations.

Synapse Films

Suspiria (Italy, 1977) was his only American hit, a stylish, surreal, downright puzzling piece of seventies Grand Guignol weirdness. Jessica Harper is an American ballet student in a creepy European dance academy run by Joan Bennett and Alida Valli, who seem to preside over a series of bizarre murders as well. The story has something to do with witchcraft and a coven that has made its home in the sinister school, but then plot was never Argento’s strength. Suspiria’s fame comes from operatic set pieces of lovingly choreographed violence—one young woman dropped through a stained glass ceiling until a rope around her neck breaks her fall (among other things), another swimming through a room filled (for no explicable reason) with razor wire (the first Saw borrowed this idea)—and Argento’s dreamy cinematography and vivid, full blooded imagery. He never really made sense, but in an era filled with masked brutes hacking up kids and co-eds, Argento brought a grace to the vicious business of murder and a dream logic to terror. Watch for Udo Kier in a supporting role.

Continue reading at Stream On Demand

Review: A Quiet Place

The horror films that linger into the wee small hours after watching are often the simplest ones. A Quiet Place, director/co-writer/actor John Krasinski’s startlingly good monster movie, quickly establishes a lean, mean scenario and then cranks up the tension. This is a ruthlessly efficient primal scream generator that somehow doesn’t leave the viewer feeling ill-used, and audiences are going to go bananas.

Continue reading at The Portland Mercury

Review: They Remain

Flip through a few recent Best of Horror collections at random, and you’re likely to hit a healthy smattering of Laird Barron. Barron, who sets many of his stories in the Northwest, is a ferocious talent, specializing in an upsetting, lysergic melding of two-fisted adventure scenarios and slithering Lovecraftian remnants. They Remain, the first filmed take on the author’s work, manages to replicate a gratifying amount of that distinctive vibe, infusing the story with large doses of free-form agoraphobic anxiety. It lingers.

Continue reading at The Stranger

Blu-ray: ‘Night of the Living Dead’ at 50

Criterion Collection

Night of the Living Dead (Criterion, Blu-ray, DVD)

Fifty years ago, commercial filmmaker George Romero marshalled the resources of his production company Latent Image and the talents of friends and colleagues to produce a low budget feature film in Pittsburg, PA. The rest is, as they say, history. Night of the Living Dead (1968) is the first genuinely modern horror movie, shot more like a documentary of the apocalypse than the Gothic horrors that defined the sixties, and it bled right into the fabric of the culture.

The plot is ingeniously simple: dead rise from their graves and feast on the living. There’s no exposition to frame it and the unstoppable army of flesh eating ghouls is made more terrifying by the complete absence of motivation or explanation; they literally come from nowhere. Barbra (Judith O’Shea) flees a stumbling ghoul in a panic to an abandoned farmhouse and becomes nearly catatonic as another survivor, Ben (Duane Jones), takes refuge and then takes action, boarding up the place as more of those shambling creatures gather outside.

The casting of Duane Jones as Ben is one of the great moments of color-blind casting in American cinema.

Continue reading at Stream On Demand

Blu-ray: James Whale’s ‘The Old Dark House’

James Whale followed up his iconic horror classic Frankenstein (1931) with the strange, sly, and sardonic The Old Dark House (1932), part haunted house terror and part spoof executed with baroque style.

Cohen Film Collection

Boris Karloff (fresh from his star-making turn in Frankenstein) takes top billing in the supporting role of Morgan, the scarred, mute butler with a penchant for drink and a vicious mean streak, but the film is really an ensemble piece. Melvin Douglas is the wisecracking romantic lead caught in a raging thunderstorm in the Welsh mountains with bickering couple and traveling companions Raymond Massey and Gloria Stuart. They take refuge in the creepy old manor of the title, lorded over by the gloriously flamboyant Ernest Thesiger and his dotty, fanatical sister Eva Moore, when a landslide wipes out the goat-trail of a mountain road, and are later joined by more stranded passengers: a hearty Charles Laughton, whose Lancashire working class accent and blunt manners sets him apart from the social graces of his companions, and his “friend” Lillian Bond, a chorus girl with a chirpy sunniness in the gloomy situation.

Continue reading at Stream On Demand

Blu-ray: Mario Bava’s ‘Kill, Baby… Kill!’

The title may sound like a serial killer thriller but Mario Bava’s Kill, Baby… Kill (Italy, 1966) is a Gothic ghost story with haunting images, grotesque edges, and glorious style. Think of it as Bava’s answer to a Hammer horror, with hysterical superstition and suspicion of outsiders replacing the lurid sexuality of Hammer’s Victorian horrors and Bava’s rich palette setting an altogether more expressionist atmosphere.

Kino Classics

Shooting exteriors on location in rural mountain villages of picture-postcard medieval stone dwellings and labyrinthine streets, Bava creates a fairy tale world of an oppressively provincial 19th century village in the grip of a curse. At least that’s the explanation of the townspeople who dismiss the scientific investigation of Dr. Paul Eswai (Giacomo Rossi Stuart), a coroner from the city called into determine if Irena (Mirella Pamphili), a young woman whose death by impaling opens the film, was murdered or committed suicide. The villagers know—she is the latest victim of a curse upon the village—and do everything they can to drive the coroner and Inspector Kruger (Piero Lulli), the city investigator, from their insular little village. With the help of Monica (Erika Blanc), who was born in the village but sent away to school and has recently returned, Paul is determined to find the true cause of the inexplicable deaths plaguing the village.

Continue reading at Stream On Demand

Review: Friend Request

Friend Request is all about the dangers of Facebook and social media, so maybe it could have gotten a pass in 2011. The alarm—which has nothing to do with Facebook’s controversial algorithms or alleged biases—seems a little outdated now. Do college students still use Facebook? If so, they will find the sorts of lessons here that a 1959 movie might have noted about the barbaric allure of rock and roll.

Continue reading at Seattle Weekly

Blu-ray: It Comes at Night

The title of It Comes at Night (2017) sets certain expectations. What exactly comes at night? But the survival thriller from writer/director Trey Edward Shults, set sometime after the ravages of an unnamed and unexplained plague have ripped through the cities and sent survivors into the isolation of the wilderness, isn’t about monsters (human or otherwise) who hunt in the dark. It’s more insidious than that, which is what makes it so unsettling and unnerving.

Lionsgate

Our first image is of man, diseased and unable to speak, expiring as figures hidden behind gas masks try to comfort his passing. It’s both tender and alienating, a teary farewell turned mercy killing by terse, protective Paul (Joel Edgerton) and his wife, Sarah (Carmen Ejogo), and their 17-year-old son, Travis (Kelvin Harrison Jr.), and Shults continues directing in that vein. Everything is off-balance, the familiar always on edge. Their country home in the lush green forest has been boarded up and turned into a fortress, the gentle days are under constant threat of pillager and armed invaders, and the nights are plunged in isolation where every sound is a potential attack. So when they catch a man breaking into their home (which, to anyone on the outside, appears abandoned), they have to make a choice whether to believe Will (Christopher Abbott) when he says he’s just trying to find water and shelter for his wife and young son.

Continue reading at Stream On Demand

Blu-ray: Kiyoshi Kurosawa’s ‘Pulse’

“Do you want to meet a ghost?”

Arrow

The meditative and metaphysical horror cinema of Kiyoshi Kurosawa made him one of the masters of Japanese horror during its amazing cycle of surreal and nightmarish horror films of the 1990s and 2000s, but his films never really crossed over to the general audience in the U.S. His insidiously unsettling films were too slow and cerebral for traditional horror audiences while the “horror” tag kept away the kinds of viewers that would be in tune with his eerie tales of guilt and alienation. Unlike many of his contemporaries, he was never recruited by Hollywood, and so he remains known mostly to those viewers with a passion for Asian horror. Among those fans (and I count myself as one), Pulse (Japan, 2001) is embraced as one of his greatest works, perhaps his best.

Continue reading at Stream On Demand