Robtober

For the second time, I’ve failed to be mindful of which version of a Mario Bava film I’m watching, this time with Evil Eye, the apparently inferior English-language recut of The Girl Who Knew Too Much. Fool me twice, shame on me. Evil Eye’s sumptuous black and white cinematography is a joy to behold, but its murder mystery is muddled by clumsy tonal shifts and an overbearing score.

The trouble with I Saw the Devil is that its cartoon characters do not inflict cartoon violence. The level of brutality on display might be affecting if accompanied by actual gravitas, but it’s impossible to feel deeply for any of the characters because there is so little to them.

It’s not hard to understand a man’s desire for revenge after his wife is murdered by a remorseless, barbaric killer, but the extreme shape his revenge… See more →

In Jaws: The Revenge, Ellen Brody becomes convinced that the various, oversized sharks that have tormented her family over the last twelve years are somehow associated, or organized, or something. Whether Brody is wrong or right, there’s some fun potential in the concept. However, despite going so far as to hint that she may even have some kind of psychic connection with the shark du jour, Jaws: The Revenge doesn’t commit to its lunacy, and… See more →

Jaws 3 boasts the hokiest special effects of the entire series. Since those effects are apparently its reason for being (its original title was Jaws 3-D), and relatively little effort was exerted elsewhere in the production, this one is probably best viewed in 3-D with expectations kept low.

Jaws 2 may be the best of the superfluous Jaws sequels, but it’s arguably the most boring. In its attempt to maintain the setting and tone of the flawless original, it’s mostly an unremarkable retread that seems resignedly cognizant of its own disposability.

For the second feature of a 28-year-old filmmaker, Jaws is an incredibly assured effort, and still every bit as terrifying as it was 40 years ago.

M Night Shyamalan is many things, but he is not a hack. His movies are dumb, but they are entirely his own, worlds that are not so richly imagined as they are distinctively contrived. Every character has an overwritten variation of Shyamalan’s own voice, rendering all dialogue conspicuously flat. Ludicrous premises and moments are carefully engineered with the bewildering expectation of generating pathos, shock, or delight. Even mainstream audiences seem to be confused as to… See more →

Recalling the confined paranoia of Roman Polanski’s apartment trilogy, and, more recently, The Babadook’s exploration of grief and maternal anxiety, Under the Shadow is an effective chiller set in Tehran during the Iran–Iraq war of the 1980s. When her husband is drafted by the military, Shideh (Narges Rashidi) is left alone to care for her daughter as bombs fall on Tehran and her neighbors flee the city. Still stinging from a medical school rejection… See more →

House is the Japanese tween fever dream I never knew I needed to experience. Virtually every shot is highly stylized in a different way, each scene is more bonkers than the last, and there is very little sense to be made of any of it. It’s an exhausting but worthwhile investment.

Not the worst of the crowded early ’80s slasher field, but an artless entry all the same, straying from the playbook in all the wrong ways. Bloody Birthday is so enamored of its premise (essentially The Bad Seed cubed) that it can’t take its eyes off its pint-sized villains, which means we know exactly what they’re up to at all times. Some of their murderous mischief is for revenge, and some is indiscriminate, but absolutely… See more →

Every October, I put together a sizable schedule of horror/thriller/exploitation films, most of which I haven’t seen before. Dates and times (subject to change) are listed for any friends who want to join me. Also available as a handy Google calendar!

Don't Breathe

Fede Álvarez (USA, Hungary, 2016)

Three delinquents break into the house of a war veteran who is blind to steal his money. However, they discover that the man is not as defenseless as… See more →

Hesher gorehounds will enjoy Deathgasm’s gleeful synthesis of metal lore and maximal carnage, but its blood-soaked slapstick lacks the imagination of the Sam Raimi and Peter Jackson classics that inspired it.

For a very silly mockumentary about vampire roommates, What We Do in the Shadows packs a lot of heart, even as said vampires are violently devouring the blood of their innocent victims. Their benign malevolence (and that of their werewolf nemeses) – bolstered by impressively committed special effects – is a rare and delightful alchemy, and one that generates a lot of laughs.

In 1967, Terence Young, director of several 007 movies, gave us Wait Until Dark, in which a blind woman is terrorized in her home by criminals who believe their contraband is hidden there. Its title, a command, refers both to its villains’ nocturnal scheming and to its heroine finding empowerment in her disability.

In 2016, Mike Flanagan, whose Oculus was a modest horror hit, gave us Hush, in which a deaf woman is terrorized in… See more →

Having cut his teeth producing Stuart Gordon’s celebrated H.P. Lovecraft adaptations, Brian Yuzna aims for the same audience with Society, his directorial debut. Its turbo-charged sex drive and comic body horror will be familiar to fans of Re-Animator and From Beyond, but unlike his work with Gordon, with Society Yuzna appears to have giddily assembled a special effects crew before he even hired screenwriters.

The plot, such as it is, follows a high school basketball… See more →

On the surface, Pier Paolo Pasolini’s Salò seems like it requires some unpacking, at least for those of us without graduate degrees. Relocating the Marquis de Sade’s depraved novel The 120 Days of Sodom to Mussolini’s northern Italy in 1943, it name-drops Nietzsche, Proust, Ezra Pound, and others as it systematically humiliates and tortures a group of eighteen captive adolescents. But Salò’s goal is not opaque intellectualism for its own sake. Its poetic and… See more →

After reading up on Black Sabbath a bit, I wish I had sought out the original Italian version, rather than settling for the sanitized English version released by American International Pictures (which is the one currently available on Netflix in the States). Of the film’s three short stories, one (“The Telephone”) is edited severely enough to completely change its meaning, but thankfully, a discerning eye can still spot traces of its more lurid giallo origins… See more →