Review: Original "HELLRAISER" Will Still Tear Your Soul Apart

TRASH IN MY EYE No. 57 of 2022 (No. 1869) by Leroy Douresseaux

Hellraiser (1987)
Running time:  93 minutes (1 hour, 33 minutes)
Rated – R
WRITER/DIRECTOR:  Clive Barker
PRODUCER:  Christopher Figg
CINEMATOGRAPHER:  Robin Vidgeon (D.o.P.)
EDITOR:  Richard Marden
COMPOSER:  Christopher Young

HORROR/FANTASY

Starring:  Clare Higgins, Ashley Laurence, Andrew Robinson, Sean Chapman, Robert Hines, Doug Bradley, Nicholas Vince, Simon Bamford, Grace Kirby, Frank Baker, and Oliver Smith

Hellraiser is a 1987 British supernatural horror film written and directed by Clive Barker.  The film is an adaptation of Barker's 1986 novella, “The Hellbound Heart,” which was first published in the third volume in Dark Harvest's Night Visions anthology series.  This movie also launched the Hellraiser film series, which is currently comprised of eleven films, including an upcoming reboot film, entitled Hellraiser, to be streamed on Hulu.  The first Hellraiser movie focuses on a daughter, a father, his second wife, and his brother (who was his wife's lover), and a group of sadomasochistic beings known as the “Cenobites.”

Hellraiser introduces Frank Cotton (Sean Chapman), who searches the world for the greatest pleasures.  His travels take him to Morocco where he buys a strange puzzle box.  In the empty attic of his late parents' home, Frank solves the puzzle and opens the box.  From the box, hooked chains emerge and begin to tear Frank apart because he has fallen into the clutches of a group of extra-dimensional, sadomasochistic beings called the Cenobites.  Demons to some and angels to others, they offer the greatest pleasure … but also the greatest pain.

Some time afterward, Frank's brother, Larry Cotton (Andrew Robinson), moves into the house in a bid to rebuild his strained relationship with his second wife, Julia (Clare Higgins).  Larry's adult daughter, Kirsty (Ashley Laurence), decides to get a place of her own.  Larry is also unaware that shortly before they were married, Julia had a torrid affair with Frank.

While moving furniture into the house, Larry has an accident that leaves blood dripped onto the attic floor.  Beneath that floor are the desiccated remains of Frank, and Larry's blood begins to revive the tissue.  Soon, Frank has returned as a skinless corpse that is soon found by Julia.  In order to revive Frank, Julia begins luring men into the attic.  Julia and Frank's activities have not gone unnoticed and the puzzle box is still around.  And so are the Cenobites.

I first saw Hellraiser when it played at a local theater; my memory says 1988.  For me it was an unforgettable cinematic experience.  I saw it several times over the following years, but I have not watched it in well over two decades.  Seeing it again, I was surprised at how much of it I actually remembered correctly, which is not always the case when I haven't seen a movie in time that can be measured in decades.

Christopher Young's score is as great as I remembered it to be.  Bold and shamelessly intrusive, it is one of the best musical scores for a horror film that I have ever heard.  The make-up and costumes, especially the former, are still amazing and still seem imaginative, although much of it has been copied and replicated countless times since the original release of Hellraiser.  It is a shame that the committee that oversees the “best make-up” category of the Academy Awards isn't a bit more adventurous and imaginative in their choices.  Hellraiser deserved an Oscar nod for its make-up effects.

I like the performances.  When I see American actor Andrew Robinson on some television series, he usually looks as if he just killed someone, but here, he is convincing as Larry Cotton, loving father and determined spouse.  Claire Higgins looks as if she has a stick up her ass, but it serves her imperious ice queen character, Julia, quite well.  Sean Chapman is half-and-half as Frank, but Oliver Smith who plays the “monster version” of Frank, is excellent.  The best actor in this film, however, is Ashley Laurence, who comes across as genuine in the role of loving daughter and “final girl.”  I think the Hellraiser film franchise became low rent over time because she did not stick around past the second film in the series, Hellbound: Hellraiser II.

For me, Hellraiser works.  By the time I first saw it, I had read several of Clive Barker's short fiction via the American release of his Books of Blood short story collections.  I was familiar with his brand of horror and dark horror, which was deeply imaginative in terms of plot, setting, and characters and also in its depictions of violence.  Clive Barker is different, and so is his film, Hellraiser.  It is a viewing and storytelling experience like no other.  And almost four decades later, Hellraiser can still tear your soul apart, dear readers.

8 of 10
A
★★★★ out of 4 stars

Thursday, September 22, 2022


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Review: In "THE BLACK PHONE," the Children Answer the Call

TRASH IN MY EYE No. 52 of 2022 (No. 1864) by Leroy Douresseaux

The Black Phone (2022)
Running time:  103 minutes (1 hour, 43 minutes)
MPA – R for violence, bloody images, language and some drug use
DIRECTOR:  Scott Derrickson
WRITERS:  Scott Derrickson and C. Robert Cargill (based on the short story “The Black Phone” by Joe Hill)
PRODUCERS:  Jason Blum, Scott Derrickson, and C. Robert Cargill
CINEMATOGRAPHER:  Brett Jutkiewicz (D.o.P.)  
EDITOR:  Frédéric Thoraval
COMPOSER:  Mark Korven

HORROR/CRIME/MYSTERY/THRILLER

Starring:  Mason Thames, Madeleine McGraw, Jeremy Davies, E. Roger Mitchell, Troy Rudeseal, James Ransone, Miguel Cazarez Mora, Rebecca Clarke, Tristan Pravong, Brady Hepner, Jacob Moran, Banks Repeta, and Ethan Hawke

The Black Phone is a 2022 supernatural horror, mystery,and crime thriller from director Scott Derrickson.  The film is based on the short story, “The Black Phone,” from author Joe Hill.  The story was first published in the The 3rd Alternative No. 39, the Autumn 2004 issue of the former British horror magazine.  The Black Phone the movie focuses on a teen boy who is abducted by a child killer and imprisoned in a basement where he starts receiving phone calls from a disconnected phone.

The Black Phone opens in North Denver, 1978.  A presumed serial killer, nicknamed “The Grabber” (Ethan Hawke), has been prowling the streets of a particular Denver suburb and abducting teenage boys.  Shortly after the film begins, a boy named Bruce Yamada (Tristan Pravong) disappears and is presumed a victim of The Grabber.

Teen Finney Blake (Mason Thames) lives in this North Denver suburb with his younger sister, Gwen Blake (Madeleine McGraw), and their abusive, alcoholic, widowed father, Terrence Blake (Jeremy Davies).  At school, Finney is frequently bullied and harassed, but he has struck up a friendship with a classmate, Robin Arellano ( Miguel Cazarez Mora), who fends off the bullies.  Then, the Grabber gets Robin.

Meanwhile, Gwen, who has psychic dreams like her late mother, dreams of a masked man who drives a van and kidnaps Bruce, leaving black balloons in his wake.  Then, Finney has a violent encounter with the Grabber.  Finney awakens in a soundproofed basement where the Grabber has imprisoned him.  On the rear wall is a black rotary phone that the Grabber says does not work.  The black phone is supposedly disconnected, but later, the phone rings.  When Finney answers it, he here's a familiar voice – a voice of one of the Grabber's victims.  Now, Finney must rely on the instructions of ghosts, his own shaky bravery, and (unknown to him) the dreams of Gwen if he is going to survive the murderous plans of a maniac.

I have not read the short story, author Joe Hill's “The Black Phone,” upon which this film is based.  [I have read Hill's 2013 novel, NOS4A2, and his 2019 short story and novelettes collection, Full Throttle.]  Not reading the short story did not stop me from enjoying The Black Phone the movie, for the most part.

It takes a bit to really get into the nonsensical scenario:  a guy drives around in a pitch black van, snatching kids in the middle of the day, practically right out in the street, and no one sees a thing.  However, co-writer/director Scott Derrickson and co-writer C. Robert Cargill thrive on generating scares out of ridiculous scenarios, such as in their 2012 creepy horror film, Sinister.  Truthfully, horror films should not necessarily make sense; whether the film is driven by a killer, demonic possession, or haunting, horror films are a fantastic scenario.  Scary movies should not be logical or perhaps, be somewhat illogical.  Still, until the Grabber grabs Finney, I was not invested in the film, although I was already feeling some fear.

That said, the children are the stars of this film, especially the siblings, Finney and Gwen Blake.  Finney tries to find answers in the mysterious phone calls he receives on the disconnected black phone.  Gwen battles her own doubts even as she deals with an abusive father who is afraid of what will become of her and her abilities, to say nothing of the two police detectives who must come around to believing her visions.

The Black Phone is one of those times when both a boy and a girl come of age and undergo the heroic journey at the same time in the same movie.  That makes the struggle and victory all the more satisfying.  Mason Thames as Finney and Madeleine McGraw as Gwen are convincing as both the heroes and as the sensible ones.  They make The Black Phone's last act visceral and invigorating, and dear readers, you will vicariously fear for your life, which makes the resolution so, so satisfying.  It is rare that I cheer the end of a horror movie, but I did it for The Black Phone.

7 of 10
A-
★★★½ out of 4 stars

Saturday, September 10, 2022


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Review: Alex Garland's "MEN" on Men

TRASH IN MY EYE No. 48 of 2022 (No. 1860) by Leroy Douresseaux

Men (2022)
COUNTRY OF ORIGIN:  United Kingdom
Running time:  100 minutes (1 hour, 40 minutes)
MPA – R for disturbing and violent content, graphic nudity, grisly images and language
WRITER/DIRECTOR:  Alex Garland    
PRODUCERS:  Andrew Macdonald and Allon Reich
CINEMATOGRAPHER:  Rob Hardy
EDITOR:  Jake Roberts
COMPOSERS:  Geoff Barrow and Ben Salisbury

HORROR

Starring:  Jessie Buckley, Rory Kinnear, Gayle Rankin, Sarah Twomey, and Paapa Essiedu

Men is a 2022 British horror film from writer-director Alex Garland.  The film focuses on a recently widowed young woman on a solo holiday to the English countryside who finds herself tormented by a group of strange men.

Men introduces a young woman named Harper (Jessie Buckley).  Following the shocking and unexpected death of her husband, James Marlowe (Paapa Essiedu), London-based Harper decides to take a holiday alone in the small village of Cotson, located in the English countryside.  She will be spending her two weeks staying in a pricey rental, Cotson Manor.

Not long after Harper arrives at the spacious manor house, things start getting strange.  She is welcomed by the manor's owner, an odd sort of fellow named Geoffrey (Rory Kinnear).  Later, while taking a walk, Harper has a bizarre encounter with a strange man who seems to be naked.  As things start to turn more bizarre, Harper realizes that all the men in the village look alike...

I can see why Alex Garland's film, Men, is so controversial and even considered incendiary.  Basically, Garland's film is a horror movie about toxic masculinity, and the main point of toxicity is that men want to control how women react to men, maleness, and masculinity.  Here, men think that women should downplay some acts of violence and aggression, and that women exaggerate even the most violent and threatening behavior of males.  Harper's husband, James, is emotionally abuse and manipulative, and even his threats against himself are attempts to control Harper, in addition to being an act of violence against her.

In Men, Garland does not offer answers or, at least, many of them.  He uses surrealism and tropes from the horror sub-genre known as “folk horror” (isolated English village, pagan symbolism, atmosphere music, etc.) to create a scary movie that practically yells, “Fact!  Toxic masculinity is bad, and men are controlling and manipulative just as much as they say that women are.”  And that makes Men a flashpoint work of art and entertainment in a flashpoint time, so it automatically has groups of people that will not like it or be very critical of it – even before seeing the film.

The performances are good, but not great.  It is not that the actors aren't capable; it is just that the movie does not give them many verbal showcases.  Thus, Jessie Buckley spends a lot of time looking scared, but when she can speak as Harper, the film has more dramatic impact.  Also, as Geoffrey and others, Rory Kinnear gets to look like a chameleon without getting to play a chameleon.

The politics of men and women aside, Men is yet another film that reveals Alex Garlands ability to take conventional ideas for stories and twist them into unconventional film narratives.  His films offer his audience a visceral and unforgettable experience.  In this case, Garland presents Men as a kind of magical realism; the surreal and real live side by side and are sometimes as one.  Garland is a visual stylist as a film director and a maverick as a screenwriter.  With his contentious film, Men, Garland's reach sometimes exceeds his grasp, but the movie is simply more evidence that he can take his audience in the most unexpected directions.

8 of 10
A
★★★★ out of 4 stars

Thursday, August 19, 2022


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Review: Yep! Keke Palmer Steals Weird and Scary "NOPE"

TRASH IN MY EYE No. 44 of 2022 (No. 1856) by Leroy Douresseaux

Nope (2022)
Running time: 135 minutes (2 hours, 15 minutes)
MPAA – R for language throughout and some violence/bloody images
WRITER/DIRECTOR:  Jordan Peele
PRODUCERS:  Jordan Peele and Ian Cooper
CINEMATOGRAPHER:  Hoyte Van Hoytema
EDITOR:  Nicholas Monsour
COMPOSER: Michael Abels

HORROR/SCI-FI/MYSTERY/THRILLER

Starring:  Daniel Kaluuya, Keke Palmer, Brandon Perea, Michael Wincott, Steven Yeun, Wrenn Schmidt, Donna Mills, Eddie Jemison, and Keith David and Jacob Kim

Nope is a 2022 science fiction horror film and mystery-thriller written and directed by Jordan Peele.  The film focuses on two siblings who witness something uncanny and terrifying on and around their family's ranch.

Nope introduces Otis “OJ” Haywood, Jr. (Daniel Kaluuya) and his younger sister, Emerald “Em” Haywood (Keke Palmer), who own and operate “Haywood Hollywood Horses,” on their family's ranch where they train horses to perform on film and television.  Things have been difficult since their father, Otis Haywood (Keith David), died several months earlier in a mysterious accident in which random objects fell from the sky.

Since then, uncanny occurrences – strange sounds and odd sightings – have been happening in and around their isolated town with increasing frequency.  When OJ and Em begin to suspect they have an idea of what the abnormal events happening on their ranch are, they decide to capture video evidence of an unidentified flying object.  A local tech store employee, Angel Torres (Brandon Perea), injects himself into the siblings' situation.

However, the involvement of Ricky “Jupe” Park (Steven Yeun), the owner of a local amusement park, “Jupiter's Claim,” takes the mystery to a new level.  Now, OJ, Em, and Angel may come close to filming their own demise.

I am a big fan of the first two films Jordan Peele wrote and directed, the Oscar-winning Get Out (2016) and Us (2019).  I am also a fan of the 2021 sequel/reboot, Candyman, which Peele co-wrote and co-produced.  Nope isn't quite as good as his early directorial efforts, but it is not like them, nor is it like any film I have ever seen.

Nope is scary and thrilling, but also offbeat and really weird.  I want to emphasize weird, especially because the mystery the Haywoods are chasing is and isn't what they (or we) think it is.  I found myself trying to unravel the weirdness and the mystery as much as I found myself being scared.  Jordan Peele is so imaginative and inventive that he fills Nope with enough ideas and subplots for four movies.  That is something of a problem, as Nope often feels unfocused.  But I find it brilliant anyway.

Attentive viewers will notice that Nope has similarities to a number of films.  I noticed elements of two Steven Spielberg classics, Jaws (1975) and Close Encounters of the Kind (1977).  There is a touch of M. Night Shyamalan's Signs (2002).  Thematically, Nope brushes against Spielberg's Jurassic Park (1993), and Peele mentioned the influence of The Wizard of Oz (1939) on him while writing Nope's screenplay, which I don't see.  The last act does recall Alien 3 (1992) for me.

Nope does feature the kind of great characters and superb character writing that defined Peele's earlier efforts.  All the characters, especially OJ and Emerald, feel like characters that have a long history before this film and will have a life beyond the confines of Nope's narrative and run time.  Daniel Kaluuya does intense and laid back with equal aplomb; in this quasi-Western film, he makes OJ Haywood a true cowboy hero.  However, I think the actress and character that get the most mileage out of this film are Keke Palmer and Emerald Haywood.  This is the first time that I have seen Palmer play a real adult woman who has lived a life that is complex in its tribulations, but is also filled with good times, even some wild times.  Steven Yeun, Brandon Perea, Michael Wincott, and child actor, Jacob Kim, are quite good in their roles, but Nope is the Daniel Kaluuya and Keke Palmer show.

Nope has a lot of lovely cinematography, especially involving the open sky and clouds.  The sound design is also absolutely good and frequently gave me a feeling of unease.  I think that in some ways Nope is trying to make us uncomfortable, and it proves that Jordan Peele is the master of making films that get at the fault lines of America.

However, in his bid to mystify us and to get at us, Peele might have gone a bit too far this time.  Nope is a brilliant work that is as weird and obtuse as it is thrilling.  With Nope, Jordan Peele is like Denis Villeneuve (Dune: Part One); he is too good for the own good of his film.

8 of 10
A
★★★★ out of 4 stars

Friday, July 22, 2022


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Review: Horror Movie "X" is Some Good Old American Crazy

TRASH IN MY EYE No. 35 of 2022 (No. 1847) by Leroy Douresseaux

X (2022)
Running time:  106 minutes (1 hour, 46 minutes)
MPA – R for strong bloody violence and gore, strong sexual content, graphic nudity, drug use, and language
WRITER/DIRECTOR:  Ti West
PRODUCERS:  Jacob Jaffke, Harrison Kreiss, and Kevin Turen
CINEMATOGRAPHER:  Eliot Rockett (D.o.P.)
EDITORS:  David Kashevaroff and Ti West
COMPOSERS:  Tyler Bates and Chelsea Wolfe

HORROR

Starring:  Mia Goth, Jenna Ortega, Brittany Snow, Kid Cudi, Martin Henderson, Owen Campbell, Stephen Ure, Simon Prast, and James Gaylyn

X is a 2022 horror film written and directed by Ti West.  The film focuses on six people who are filming a pornographic movie on an elderly couple's rural Texas property, unaware of the danger that is so near to them.

X opens in Texas, 1979.  Aspiring pornographic actress, Maxine Minx (Mia Goth), embarks on a road trip with five other people who plan to film a porno movie entitled, “The Farmer's Daughter.”  The other five are Maxine's boyfriend, the film's producer, Wayne Gilroy (Martin Henderson), and fellow actors, Bobby-Lynne (Brittany Snow), and the African-American lead, Jackson (Kid Cudi).  The film's director and cameraman is RJ Nichols (Owen Campbell), with his girlfriend, Lorraine (Jenna Ortega), tagging along to assist.  Wayne's plan is to shoot an adult film for the booming theatrical pornography market and for the burgeoning home video market.

The group arrives at a reclusive farm that belongs to an elderly couple, Howard (Stephen Ure), and his wife, Pearl (Mia Goth).  Wayne has rented the couple's guest house where he intends to shoot his pornographic movie.  When the elderly couple discovers what Wayne and his friends are doing in the guest house, the killing starts.

One thing that really surprises me about X is how good the acting is.  The cast really gives good performances, and each performer has at least a few chances to shine individually.  Martin Henderson basically makes his character, Wayne Gilroy, into a pastiche or parody of Oscar-winning actor and famous Texas citizen, Matthew McConaughey.  Mia Goth plays dual roles, Maxine and also Pearl (which I suspected before I saw the credits).  Goth is quite good as Maxine, creating subtle shades and textures for the character.  Although Pearl does have her moments, I don't like the old “psycho-biddy” as much as I like Maxine.

Anyone familiar with director Tobe Hooper's classic American film, The Texas Chain Saw Massacre (1974), will see that it obviously influenced director Ti West's X.  The latter is not a copy of the former, however; X mainly has a similar physical setting (deep in rural Texas) and is set close to the same time as the earlier film (the 1970s).  At the center of the story of both films is a mysterious farmhouse that radiates unease.

I see elements of Alfred Hitchcock's legendary film, Psycho (1960), an obvious influence on Tobe Hooper's film, if for no other reason than having similar origin narratives.  Watching X, films like The Last House on the Left (1972) and Boogie Nights (1997) also come to mine.

That is where the similarities end, more or less.  The Texas Chain Saw Massacre was like a folk tale, a regional tale of terror handed down across generations.  It is also an allegory representing the state of an America coming out of the 1950s and 1960s – post-industrial and post-Vietnam.

X is specifically about the characters, what they want, and what they are willing to do it.  The characters are conniving and self-absorbed, as best exemplified by Wayne.  They are clueless and lack self-awareness, especially Bobby-Lynne.  They are willing to lie, cheat, and steal to get what they want, best exemplified by Howard and Pearl, who ultimately kill for what they want.

At the heart of X is the battle of youth versus aging as a theme – Howard and Pearl against the pornographers.  That is not the only observation I made about the couple.  I don't know Ti West or  his politics, but I see Howard and Pearl as bigoted, bitter, resentful, and jealous.  Unfortunately, they have lived long enough to see their kind of people, their beliefs, their culture, and their society become irrelevant, if not outright forgotten.  If they lived today, Howard would be the angry old cracker, and Pearl would be the snarling old biddy at a Trump rally.  Howard and Pearl are MAGA, but their enemies aren't “Mexican rapists” and trans kids.  Their enemies are people still in the prime of their sexual power and prowess, who flaunt their bodies and their sex acts.  Howard hates men who can get an erection that won't kill them, and withered-old Pearl resents young women, with their firm bodies that attract horny men.  Yes, I do feel a little sorry for them … very little.

In the end, however, I do want to recommend X as a horror movie.  Ti West has made the kind of wet, hot, American slaughter-fest of a film that American filmmakers make best.  I will say that although it feels a bit longish, X's story also feels a bit underdeveloped.  I think a horror movie about a group of people making a porno movie on a farm belonging to possible serial killers could have been more … or maybe I expected more or something different.  Still, I like X just because, for all its obvious influences, it seems so crazy and so different.

7 of 10
B+
★★★½ out of 4 stars

Wednesday, June 1, 2022


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Review: "FRIDAY THE 13TH Part III" Has Flat Plot, But Lively Characters

TRASH IN MY EYE No. 30 of 2022 (No. 1842) by Leroy Douresseaux

Friday the 13th Part III (1982)
Running time:  95 minutes (1 hour, 35 minutes)
MPAA – R
DIRECTOR:  Steve Miner
WRITERS:  Martin Kitrosser and Carol Watson (based on characters created by Victor Miller and Ron Kurz)
PRODUCER: Frank Mancuso, Jr.
CINEMATOGRAPHER:  Gerald Feil (D.o.P.)
EDITOR:  George Hively
COMPOSER:  Harry Manfredini

HORROR

Starring:  Dana Kimmell, Tracie Savage, Richard Brooker, Gloria Charles, Rachel Howard, David Katims, Paul Kratka, Cheri Maugans, Steve Susskind, Kevin O'Brien, Catherine Parks, Jeffrey Rogers, Nick Savage, and Larry Zerner

Friday the 13th Part III is a 1982 slasher horror film directed by Steve Miner.  It is a direct sequel to the 1981 film, Friday the 13th Part 2, and is the third movie in the Friday the 13th movie franchise.  This film also marked the first time Jason Voorhees put on a hockey mask, which became both the character and the franchise's trademark.

Friday the 13th Part III is set immediately after the events of Part 2.  A young woman, Chris Higgins (Dana Kimmell), and her friends travel to Higgins Haven, her old family home on Crystal Lake, to spend the weekend.  The group includes pregnant Debbie (Tracie Savage); her boyfriend, Andy (Jeffrey Rogers), Shelly (Larry Zerner), a young man who is an incessant prankster; Vera (Catherine Parks), who is supposed to be Shelly's blind date; and finally, stoner couple, Chuck (David Katims) and Chili (Rachel Howard).  Rick (Paul Kratka), Chris' boyfriend, is waiting for them at Higgins Haven.  The group has also attracted the attention of a trio of reprobate punk bikers:  Ali (Nick Savage), Fox (Gloria Charles), and Loco (Kevin O'Brien).

Meanwhile, Jason Voorhees (Richard Brooker) was left injured after his recent murder spree at a nearby counselor training camp.  He has arrived at Higgins Haven, after killing local store owner, Harold (Steve Susskind), and his wife, Edna (Cheri Maugans).  And he is ready to begin a new killing spree.

Between 1981 and 1983, some segments of the American film industry embraced 3D films again.  One of the resulting films was Friday the 13th Part III, which was originally released to theaters as a 3D film ("Friday the 13th Part 3: 3D") almost forty years ago (August 1982).  I doubt anyone younger than 50-years-old ever saw it as a 3D film inside a movie theater.  I didn't, so there is no point in me trying to talk about that aspect of the film.  I can't remember when I first saw Part III, but I think I was well into middle age by the time I did.

Contemporary reviews of Friday the 13th Part III were savage, and in a way, those critics were right.  Part III isn't imaginative in terms of plot.  The film exists to make money because movie audiences enjoyed seeing 20-somethings get killed in the two earlier installments, especially seeing Jason kill in Part 2.  So Part III was inevitable, although at the time, it was apparently meant to be the series finale.

Part III does have one thing going for it.  Most of the characters are interesting.  No two characters are alike, even when they look alike.  In fact, whenever I watch this movie, I find myself sometimes confused by Chris, Debbie, and Vera – especially Chris and Debbie who look, at least, like fraternal twins.  The characters are unique and even quirky, but the narrative really and obviously does not dwell on personality, not when there is killing to be depicted.  Besides, maybe there is no point to really getting to know characters that are going to be dead soon, although Jason does not start killing Chris' friends until after the fifty-minute mark of the film.

Because I like these characters:  Chris and her friends, especially her hunky boyfriend, Rick, I like Friday the 13th Part III … a lot.  I watch it anytime it is shown on some cable network, so I probably see it at least two or three times a year.  Still, I have to admit that there is a dry formality to the killings, and the filmmakers act as if they are making nothing more than the cinematic equivalent of one more fast food toad burger.  And that's a shame, because, in some areas, Friday the 13th Part III had the potential to be better – much better.  My grade and ratings for this film reflect my good feelings towards this classic 1980s slasher film.

5 of 10
B-
★★½ out of 4 stars

Wednesday, May 11, 2022


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Review: "DOCTOR STRANGE" Sequel is Pure Sam Raimi Goodness

TRASH IN MY EYE No. 28 of 2022 (No. 1840) by Leroy Douresseaux

Doctor Strange in the Multiverse of Madness (2022)
Running time:  126 minutes (2 hours, six minutes)
MPA – PG-13 for intense sequences of violence and action, frightening images and some language
DIRECTOR:  Sam Raimi
WRITER:  Michael Waldron (based on the Marvel Comics)
PRODUCER:  Kevin Feige
CINEMATOGRAPHER:  John Mathieson
EDITORS:  Bob Murawski and Tia Nolan
COMPOSER:  Danny Elfman

SUPERHERO/FANTASY/HORROR/ACTION

Starring:  Benedict Cumberbatch, Elizabeth Olsen, Chiwetel Ejiofor, Benedict Wong, Xochitl Gomez; Rachel McAdams, Michael Stuhlbarg, Julian Hilliard, Jett Klyne, Sheila Atim; Ako Mitchll, John Krasinski, Anson Mount, Hayley Atwell, Lashana Lynch, Charlize Theron, and Patrick Stewart

Doctor Strange in the Multiverse of Madness is a 2022 superhero, action, and horror-fantasy film directed by Sam Raimi and produced by Marvel Studios.  It is the 28th film in the Marvel Cinematic Universe (MCU) and is also a sequel to the 2016 superhero movie, Doctor Strange.  Both films focus on the Marvel Comics character, Doctor Strange, who first appeared in the comic book, Strange Tales #10 (cover dated: July 1963), and who was created by Steve Ditko and Stan Lee.  In the new film, Doctor Strange battles to protect the Multiverse and a young woman who can travel through it.

As Doctor Strange in the Multiverse of Madness opens, Dr. Stephen Strange (Benedict Cumberbatch) is plagued by dreams in which he finds himself involved with a mysterious young woman.  But life goes on.  Wong (Benedict Wong), Strange's friend and mentor, is now Earth's Sorcerer Supreme.  Also, Stephen's former lover, Dr. Christine Palmer (Rachel McAdams), is getting married, and he is attending the wedding.

During the wedding, an octopus demon wreaks havoc in the neighborhood, and Stephen meets the young woman again.  Her name is America Chavez (Xochitl Gomez), and she can travel through the Multiverse by punching doorways through dimensions.  Demonic forces are tracking her, and Strange believes that only the Book of Vishanti can stop these demons.  Dr. Strange turns to an expert for help, the former Avenger, Wanda Maximoff (Elizabeth Olsen).  However, the mastermind behind the attacks on America is quite powerful, and the identity of this attacker is quite surprising.

And things only get worse.  Dr. Strange must face his old adversary, Karl Mordo (Chiwetel Ejiofor) … something called “the Illuminati” … and multiple versions of himself.

I have come across complaints that Marvel Studios' films are formulaic and complaints that the studios' films are not “director-driven” (whatever that means).  Doctor Strange in the Multiverse of Madness is not like other Marvel films, and at least to me, it seems “director-driven.”

The director of Doctor Strange in the Multiverse of Madness is Sam Raimi, who is best known for directing Sony/Columbia Picture's first trilogy of Spider-Man films (2002-07).  Before then, Raimi's best known work was the “Evil Dead” trilogy, comprised of Evil Dead (1981), Evil Dead II (1987), and Army of Darkness (1993).  And Doctor Strange in the Multiverse of Madness seems like a superhero film built on the aesthetic or, at least, the sensibilities of the “Evil Dead” trilogy.  In fact, this Doctor Strange film is like an Evil Dead movie with the budget of a … well, Marvel Studios movie.  Even more than his Spider-Man films, Doctor Strange in the Multiverse of Madness is the truest Sam Raimi superhero movie to date.

I don't want to spoil much more than I already have, but I can say that the VFX in Doctor Strange in the Multiverse of Madness is not only superb, but also inventive and imaginative.  Of course, the productions values are quite good; once again, I must say that everything looks like it would in a Raimi Evil Dead movie with mega-event, tent-pole film's budget.  Also, Benedict Cumberbatch and Elizabeth Olsen give superb performances, especially Olsen.

In spite of what Marvel Studios and Disney may say, however, I am not sure what the impact of Doctor Strange in the Multiverse of Madness actually is.  I really like this movie because it really IS a Sam Raimi movie, and I love his movies.  But, is this Doctor Strange film as consequential to the Marvel Cinematic Universe as Spider-Man: No Way Home seems to be...?

Doctor Strange in the Multiverse of Madness seems most important because of what it promises – new tomorrows, new worlds, new heroes, new movies … and hopefully more Sam Raimi Marvel movies.  I am thankful that Marvel Studios allowed him to make this movie.  Doctor Strange in the Multiverse of Madness is better than the original film, and it is Marvel's weirdest movie to date – a thrill ride of delightful and inspired wackiness.  Plus, it gives some of us what we hoped that the original would – a true dark fantasy/horror Doctor Strange movie.

[Doctor Strange in the Multiverse of Madness has one mid-credit scene and one end-credit scene.]

8 of 10
A
★★★★ out of 4 stars

Friday, May 6, 2022


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Review: "MORBIUS" is Anemic, But Jared Leto is Hot Blooded

TRASH IN MY EYE No. 18 of 2022 (No. 1830) by Leroy Douresseaux

Morbius (2022)
Running time:  104 minutes (1 hour, 44 minutes)
MPAA – PG-13 for intense sequences of violence, some frightening images, and brief strong language
DIRECTOR:  Daniel Espinosa
WRITERS:  Matt Sazama and Burk Sharpless; from a story by Matt Sazama and Burk Sharpless (based on the Marvel Comics)
PRODUCERS:  Avi Arad, Matt Tolmach, and Lucas Foster
CINEMATOGRAPHER:  Oliver Wood
EDITOR:  Pietro Scalia
COMPOSER:  Joe Ekstrand

SUPERHERO/FANTASY/HORROR/ACTION

Starring:  Jared Leto, Adria Arjona, Jared Harris, Matt Smith, Al Madrigal, Charlie Shotwell, Joseph Esson, and Tyrese Harris and Michael Keaton

Morbius is a 2022 superhero fantasy-horror and action film directed by Daniel Espinosa.  The movie is based on the Marvel Comics character, “Morbius, the Living Vampire”/Dr. Michael Morbius, which was created by writer Roy Thomas and artist Gil Kane and first appeared in The Amazing Spider-Man #101 (cover dated: October 1971).  This is also the third film in “Sony's Spider-Man Universe” (SSU) series.  Morbius the film focuses on a scientist who tries to cure himself of a rare blood disease but instead turns himself into a new kind of vampire.

Morbius introduces Dr. Michael Morbius (Jared Leto).  He is a genius, a scientist, and has a talent for fabricating technology.  He is also suffering from a rare blood disease and has spent his adult life looking for a cure to that disease which often kills those afflicted with it at a young age.  Michael is 35-years-old, and he recently refused a Nobel Prize.

Michael is currently engaged in illegal experiments involving vampire bats that he stole from a cave in Costa Rica.  Although she is critical of him for these experiments, Martine Bancroft (Adria Arjona), Michael's fellow scientist and girlfriend, works with him.  Once he believes that he has finally created the cure for his rare blood disease, Michael injects himself with the formula.  Michael's body is transformed into that of an Olympic-level athlete, but the cure also turns him into a vampire – one with a powerful blood lust.  Now, the bodies of people with the blood drained from their bodies are being found all over the city.  Is Morbius the killer … or is Morbius responsible?

Morbius is about Morbius.  The only other character that this film allows any traction is Martine Bancroft.  It isn't that the screenplay is shallow; I find that it attempts a serious contemplation of both Dr. Michael Morbius' character and Morbius the vampire's dilemma.  I wish the film's story had taken more time with the two FBI agents hunting Morbius, comic relief Alberto “Al” Rodriguez (Al Madrigal) and the really serious Black man, Simon Stroud (Tyrese Gibson).

Morbius may be Jared Leto's best performance in a film in years.  I prefer Leto's Dr. Michael Morbius to “Rayon,” the drug addicted, HIV-positive trans woman he played in the 2013 film, Dallas Buyers Club.  Leto won a “Best Supporting Actor” Oscar for playing Rayon, a character I found shallow.  In Morbius, Leto's good looks, his vanity, his obvious acting talent, and his imaginative approach to fashioning characters and performances serve both him and film, quite well.  I found both Dr. Michael Morbius and Morbius the vampire to be endlessly fascinating characters and not at all shallow.

It feels weird for me to recommend this film for Jared Leto's performance, but I am.  Morbius is officially part of a superhero film universe.  Adrian Toomes/Vulture (Michael Keaton) from the 2017 film, Spider-Man: Homecoming, even makes an appearance in Morbius in order to solidify some connections between Sony's Spider-Man Universe (SSU) and the Marvel Cinematic Universe (MCU).  That connection thrills the fanboy in me.  I like Morbius, and I am giving it a higher grade than I probably would.  And that is because of Jared Leto's outstanding work in Morbius.

6 of 10
B

Friday, April 1, 2022


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Review: "THE RETURN OF THE LIVING DEAD" is Still Alive and Kicking

TRASH IN MY EYE No. 16 of 2022 (No. 1828) by Leroy Douresseaux

The Return of the Living Dead (1985)
Running time:  91 minutes (1 hour, 31 minutes)
MPAA – R
DIRECTOR: Dan O'Bannon
WRITERS:  Dan O'Bannon; from a story by Rudy Ricci, John Russo, and Russell Streiner
PRODUCER:  Tom Fox
CINEMATOGRAPHER:  Jules Brenner (D.o.P.)
EDITOR:  Robert Gordon
COMPOSER:  Matt Clifford

HORROR/COMEDY

Starring:  Clu Gulager, James Karen, Don Calfa, Thom Mathews, Beverly Randolph, Miguel Nunez, John Philbin, Jewel Shepard, Brian Peck, Linnea Quigley, Mark Venturini, Jonathan Terry, Cathleen Cordell, and Allan Trautman

The Return of the Living Dead is a 1985 comedy horror film written and directed by Dan O'Bannon.  The film is indirectly related to the seminal 1968 zombie movie, Night of the Living Dead.  The Return of the Living Dead focuses on a small group of people trying to survive a riot of brain-hungry zombies that are raised from the dead by a strange poison gas.

The Return of the Living Dead opens early on the evening of July 3, 1984 in Louisville, Kentucky.  At the Uneeda Medical Supply warehouse, owner Burt Wilson (Clu Gulager) is leaving work for the Fourth of July holiday weekend, leaving his employee, Frank (James Karen), behind to close-up shop and to also train new employee, Freddy (Thom Mathews).  Frank tries to impress Freddy by showing him some old container drums that the U.S. military mistakenly shipped to Uneeda and are now stored in the warehouse basement.

What Frank does not know is that the drums also contain a toxic gas called “2-4-5 Trioxin.”  Frank accidentally unleashes the toxic gas from one of the tanks, which knocks him and Freddy unconscious.  When the two bumbling employees awaken, they discover that the gas has reanimated a medical cadaver stored in the warehouse's cold locker.  Frank and Freddy call Burt back to the warehouse, but everything they do to solve their “zombie” problem makes matters worse.  That includes asking Ernie Kaltenbrunner (Don Calfa), owner of Resurrection Funeral Home, for help.

Meanwhile, Freddy's girlfriend, Tina (Beverly Randolph), and his friends: Spider (Miguel A. Núñez Jr.), Trash (Linnea Quigley), Chuck (John Philbin), Casey (Jewel Shepard), Scuz (Brian Peck), and Suicide (Mark Benturini), arrive to meet Freddy at his job.  But they don't know what's about to happen at the Resurrection Cemetery, next door.

As long as I can remember, I have read print and online articles and commentary that refer to The Return of the Living Dead as a cult movie.  I never had much interest in watching it.  Over the past year, however, one of my cable movie channels started showing its sequel, Return of the Living Dead II (1988), which I have found to be mildly entertaining.  But that channel never shows The Return of the Living Dead, so after a long stint on the waiting list, I got it from DVD.com (a Netflix company).  Wow!  I wish I had watched it a long time ago.

The Return of the Living Dead is like no other zombie movie.  It is apparently the first to feature zombies that run and also talk.  Its zombies only want to eat the brains of living humans and not the rest of the body.  The Return of the Living Dead's mood and pace are accented by its musical score (by Matt Clifford) and by its soundtrack (which was also released as an album in 1985).  The Return of the Living Dead is a punk rock comedy and rock 'n' roll zombie movie driven by two punk rock sub-genres, “death rock” and “horror punk,” that emerged during the late 1970s and early 1980s.  The songs give the film a freewheeling spirit that carries it through any narrative bumps and inconsistencies.

The film owes much of his identity, spirit, and success to writer-director, the late Dan O'Bannon (1946-2009).  He was one of the most imaginative and genre-busting screenwriters in the history of American science fiction, fantasy, and horror films, writing for such films as Alien (1979) and Total Recall (1990).  O'Bannon produces a film that acts as if it owes nothing to the zombie fiction and horror storytelling that came before it, while gleefully cutting and pasting bits and pieces of American pop culture all over itself.

The casting of this film is an accidental work of brilliance.  All the actors are pitch perfect:  tongue-in-cheek, over-the-top, comically straight, and slyly satirical.  James Karen and Thom Mathews are perfect as Frank and Freddy, respectively, the bumbling employees that release the gas which turns the dead into zombies.  Actor Clu Gulager, who always played the “White Man” boss/leader type, plays Burt Wilson with a artfully satirical edge that is easy to miss.  Linnea Quigley personifies a kind of punk sex goddess and later a deadly sex creature.  As “Spider,” actor Miguel A. Núñez Jr. creates what is one of my favorite male African-American horror movie characters.

The Return of the Living Dead is now one of my favorite zombie films, and perhaps, it is a coincidence that one of my other favorites, George A. Romero's underrated post-apocalyptic jewel, Day of the Dead, was releases the same year, 1985.  [Or maybe something was trying to warn me about the future.]  I highly recommend The Return of the Living Dead (which is available in a “special edition” DVD) and its soundtrack.  This is the most fun I have ever had watching a zombie film … or zombie anything, for that matter.

8 of 10
A

Wednesday, March 23, 2022


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Review: "RESIDENT EVIL: Welcome to Raccoon City" is Scary as Hell

TRASH IN MY EYE No. 13 of 2022 (No. 1825) by Leroy Douresseaux

Resident Evil: Welcome to Raccoon City (2021)
COUNTRY OF ORIGIN: Canada/Germany
Running time:  107 minutes (1 hour, 47 minutes)
MPAA – R for strong violence and gore, and language throughout
DIRECTOR:  Johannes Roberts
WRITER:  Johannes Roberts (based upon the video game, Resident Evil)
PRODUCERS:  Hartley Gorenstein, James Harris, and Robert Kulzer
CINEMATOGRAPHER:  Maxime Alexandre
EDITOR:  Dev Singh
COMPOSER:  Mark Korven

HORROR/SCI-FI/ACTION

Starring:  Kaya Scodelario, Robbie Amell, Hannah John-Kamen, Tom Hopper, Avan Jogia, Donal Logue, Neal McDonough, Marina Mazepa. Janet Porter, Holly De Barros, Chad Rook, Nathan Dales, Daxton Grey Gujral, and Lily Gail Reid

Resident Evil: Welcome to Raccoon City is a 2021 science fiction, action, and horror film from writer-director Johannes Roberts.  It is the seventh installment in the Resident Evil film franchise and a reboot of the franchise, which is based upon the Capcom survival horror video game series, Resident Evil.  Welcome to Raccoon City is set in 1998 and focuses on a small group of people trying to survive a zombie outbreak in a small town.

Resident Evil: Welcome to Raccoon City opens sometime in the 1980s in the small town of Raccoon City.  The Raccoon City Orphanage is the current home of orphaned siblings, Claire Redfield (Lily Gail Reid), and her brother, Chris (Daxton Grey Gujral).  The children are subject to being experimented on by Dr. William Birkin (Neal McDonough), an employee of the Umbrella Corporation, the world's largest pharmaceutical company.  Eventually, Claire manages to run away.

On the rainy night of September 30, 1998, an adult Claire (Kaya Scodelario) returns to Raccoon City.  She hopes to convince her estranged brother, Chris (Robbie Amell), who is now an officer of the Raccoon City Police Department (RPD), that Umbrella is experimenting on the people of the city.  However, Chris is not happy to see his sister, nor does he believe what she tells him about Umbrella's activities.

In fact, Umbrella Corp. has pulled out of Raccoon City, turning it into a ghost town.  The only people still in town are a skeleton crew of the corporation's last employees and those who are too poor to leave.  Before Claire can convince anyone of anything, Raccoon City's remaining citizens start getting sick and eventually, they begin turning into hungry zombies.  Soon, Claire and Chris are each leading a small group of police officers on a quest to escape the city with neither knowing that they are rapidly running out of time.

Resident Evil: Welcome to Raccoon City was not a success at the box office, which is a shame.  As the first entry in a new series of films, it is superior to Resident Evil, the 2002 film that kicked off the franchise.  I will be honest.  The characters are shallow, but character development and motivation are not the most important things in Welcome to Raccoon City.  The scares are.

To that end, it is very successful.  Writer-director Johannes Roberts turns in a film that makes superb use of nighttime settings, shadows, darkness, and a rainy night.  With film editor, Dev Singh, Roberts strangles his audience with fearsome sequences of zombies and monsters jumping out of every darkness.  There is a scene in which Chris Redfield has to ward off zombies with very little light.  Every time, he fires his weapon, there is a flash that briefly illuminates an attacking zombie.  In fact, Welcome to Raccoon City's zombies may be twenty-first century's scariest.  I felt that with every bump and thump in the night my blood was freezing.

I hope that Johannes Roberts gets a shot at making a sequel to Welcome to Raccoon City.  Online and especially on social media, I have come across complaints about this film, but these complainers must be jaded.  In the blended genre of survival horror and zombie films, Resident Evil: Welcome to Raccoon City is quite an achievement.

7 of 10
A-

Thursday, March 10, 2022


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Review: Vincent Price Does Killer Shakespeare in "THEATRE OF BLOOD"

TRASH IN MY EYE No. 10 of 2022 (No. 1822) by Leroy Douresseaux

Theatre of Blood (1973)
Running time:  104 minutes (1 hour, 44 minutes)
DIRECTOR:  Douglas Hickox
WRITERS: Anthony Greville-Bell (based on an idea by Stanley Mann and John Kohn)
PRODUCERS:  John Kohn and Stanley Mann
CINEMATOGRAPHER:  Wolfgang Suschitzky (D.o.P.)
EDITOR:  Malcolm Cooke
COMPOSER:  Michael J. Lewis

THRILLER/HORROR with elements of comedy

Starring:  Vincent Price, Diana Rigg, Ian Hendry, Harry Andrews, Robert Coote, Michael Hordern. Robert Morley, Coral Browne, Jack Hawkins, Arthur Lowe, Dennis Price, Milo O'Shea, and Eric Sykes

Theatre of Blood is a 1973 British horror-thriller and dark comedy from director Douglas Hickox.  The film stars Vincent Price as a scorned Shakespearean actor who takes revenge on his critics using the plays of William Shakespeare as reference for his diabolical methods of murder.

Theatre of Blood opens with a murder.  “Theatre Critics Guild” member, George Maxwell (Michael Hordern), is repeatedly stabbed by a mob of homeless people turned murderers.  Maxwell and his fellow guild members recently humiliated Shakespearean actor, Edward Kendal Sheridan Lionheart (Vincent Price).  He was thought to have committed suicide by jumping from the balcony of the guild's headquarters.  Instead, Lionheart was rescued by the very vagrants and homeless people that hehas  recruited to his cause – revenge against the critics who failed to acclaim his genius.

Now, Lionheart has targeted the eight remaining members of the Theatre Critics Guild, designing their deaths using murder scenes from the plays of William Shakespeare.  The police are trying to discover the identity of the killers, and even after they do, they still can't seem to stop him.  Only one of his targets, critic Peregrine Devlin (Ian Hendry), seems smart enough to foil Lionheart.  However, Devlin has no idea just how obsessed and focused Lionheart is.

Vincent Price (1911–1993) was an American actor and a legendary movie star, in addition to being an author and art historian.  Price was and still is best known for his performances in horror films, although his career spanned other genres.  Price appeared in more than 100 films, but he also performed on television, the stage, and on radio.

I am currently reading the wonderful comic book miniseries, Elvira Meets Vincent Price, which is written by David Avallone, drawn by Juan Samu, and published by Dynamite Entertainment.  The series will end shortly, and because I have enjoyed reading it so much, I decided to watch and review a Vincent Price movie.  The first Vincent Price movie that I can remember seeing was Theatre of Blood (known as Theater of Blood in the United States).  As I haven't seen it since that first time, I decided to watch it again.

I remember really liking this movie the first time I saw it, and I enjoyed it watching it again.  Theatre of Blood is both a horror-thriller and a dark comedy, something I did not get watching it as a youngster.  Truthfully, however, Theatre of Blood is a monster movie – a Vincent Price monster movie.

At first, I found myself enjoying Edward Lionheart's revenge and the games of death he plays with his enemies, the critics who would not give him the honor he believes he is due.  Then, I noticed that Lionheart's murderous crusade drags in an ever growing number of innocents and collateral damage.  At that point, I was forced to realize that the beguiling Lionheart is a deranged maniac and probably has been one for a long time.

After I accepted that Lionheart was neither hero nor anti-hero, but was instead a lunatic, I began to enjoy Price's not-quite-over the top performance, with its alternating layers of madness, subtlety, elegance, and maniacal glee.  By the time, I finished Theatre of Blood, I realized a few things.  One is that I need a regular dose of Vincent Price cinema in my life.  Another is that I will absolutely recommend this movie to you, dear readers.

8 of 10
A

Wednesday, March 2, 2022


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Review: "HALLOWEEN KILLS" is the Best "Halloween" Sequel in Decades

TRASH IN MY EYE No. 3 of 2022 (No. 1815) by Leroy Douresseaux

Halloween Kills (2021)
Running time:  105 minutes (1 hour, 45 minutes)
MPAA – R for strong bloody violence throughout, grisly images, language and some drug use
DIRECTOR:  David Gordon Green
WRITERS:  David Gordon Green, Danny McBride, and Scott Teems (based on the characters created by John Carpenter and Debra Hill)
PRODUCERS:  Malek Akkad, Bill Block, and Jason Blum
CINEMATOGRAPHER:  Michael Simmonds (D.o.P.)
EDITOR:  Tim Alverson
COMPOSERS:  Cody Carpenter, John Carpenter, and Daniel Davies

HORROR/THRILLER

Starring:  Jamie Lee Curtis, Judy Greer, Andi Matichak, James Jude Courtney, Nick Castle, Will Patton, Thomas Mann, Jim Cummings, Dylan Arnold, Robert Longstreet, Anthony Michael Hall, Charles Cyphers, Scott MacArthur, Michael McDonald, Kyle Richards, Nancy Stephens, Diva Tyler, Lenny Clarke, Brian Mays, Sr., Michael Smallwood, Carmela McNeal, Jibrail Nantambu, and Omar Dorsey

Halloween Kills is a 2021 slasher-horror film from director David Gordon Green.  It is the twelfth installment in the Halloween film series and is a direct sequel to the 2018 film, Halloween, and to the original Halloween, the 1978 film that was the first in the series.  

Halloween Kills opens on October 31, 1978 in Haddonfield just after the events depicted in the original Halloween (1978) film.  Michael Myers failed to kill Laurie Strode, but he survived being shot by Dr. Samuel Loomis.  Now, the sheriff's department is desperately searching for Michael.  While searching for him in the ruins of his childhood home, Deputy Frank Hawkins (Thomas Mann) accidentally shoots his partner, Peter McCabe (Jim Cummings), dead while trying to save him from Michael.  Hawkins also prevents Dr. Loomis from executing Michael.

Forty years later, on October 31, 2018, Laurie Strode (Jamie Lee Curtis); her adult daughter, Karen Nelson (Judy Greer), and Karen's daughter, Allyson (Andi Matichak), have escaped Laurie's fortified house.  They believe that they have defeated Michael Myers who had returned to do what he had not forty years earlier – kill Laurie Strode.  They believe that Michael will die in Laurie's now-burning house, even as they see firefighters responding to the blaze.

While the medical staff of Haddonfield Memorial Hospital try to save the badly injured Laurie's life, survivors of Michael original rampage celebrate the 40th anniversary of Michael's imprisonment.  Two of them are the adult Tommy Doyle (Michael Anthony Hall) and the adult Lindsey Wallace (Kyle Richards), the two children Laurie Strode was babysitting back in 1978 the night Michael attacked.   When Tommy learns that Michael Myers has returned to Haddonfield, Tommy forms an every-growing mob of vengeful Haddonfield residents to hunt down and kill Michael.  Meanwhile, back at the hospital, Laurie and an older Deputy Frank Hawkins (Will Patton) wonder if Michael can really every be stopped.

Halloween Kills is the sequel to Halloween 2018, which is both a direct sequel to Halloween 1978 and a reboot of the entire franchise.  Halloween 2018 literally made all the sequel films to the 1978 film irrelevant.  Halloween Kills, however, takes elements from one of those sequels, the excellent Halloween II (1980), and rewrites them to explain what happened to Michael immediately after the events of the 1978 film.  In Halloween II, Michael escapes the police and stalks Laurie to Haddonfield Memorial Hospital.  In Halloween Kills, the sheriff and his deputies and Dr. Loomis capture Michael before he ever makes his way to the hospital to attack Laurie again.

In fact, Halloween Kills pretty much keeps the now-elderly Laurie Strode in the hospital and out of the fight this time around.  Halloween Kills is the first Halloween film that pits Michael Myers against the residents of Haddonfield rather than having him stalk Laurie Strode, a version of her, or a descendant, while killing anyone who happens to be connected directly or indirectly to his target.

I like that.  It refreshes the franchise in a way that Halloween 2018 did not.  Halloween Kills is honest, in a way.  Michael Myers won't be killed off because, as a movie character and as intellectual property, he is a cash cow.  In the world of the film, Michael suffered injuries in Halloween 1978 and 2018 that should have caused his death.  The very nature of his violence creates the atmosphere and conditions that keep him alive and returning to kill more.  Michael can't be killed, even in the world of these films.

I like Halloween Kills much more than I liked Halloween 2018.  The inventive script and David Gordon Green's aggressive and confrontational directing style result in two good things.  First, the actors' performances are individualized, so no one is the same.  Thus, when Michael kills a character, it feels like he is killing a real resident of Haddonfield rather than a generic victim in a horror film's typically high body count.  Let's be honest, dear readers, the main problem with the Friday the 13th horror film franchise is that the vast majority of the victims seem like the same people.

Secondly, Green and company offer some of the most creatively brutal kills that the audience will find in a slasher horror film.  No one killing is the same, and they all seem well thought out even when they happen quickly.  I really enjoyed Halloween Kills, and several times, I caught myself cheering and whooping it up.  I will say that Halloween Kills is a near-masterpiece of the genre, and it is a more worthy successor to Halloween 1978 that Halloween 2018 is.

8 of 10
A

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


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Review: New "SCREAM" Will Entertain Scream Fans

[Fans will want to see the entertaining new “Scream” film in movie theaters – right now.  But for everyone else, there is nothing here worth a trip to the local theater.]

TRASH IN MY EYE No. 2 of 2022 (No. 1814) by Leroy Douresseaux

Scream (2022)
Running time:  114 minutes (1 hour, 54 minutes)
MPA – R for strong bloody violence, language throughout and some sexual references
DIRECTORS:  Matt Bettinelli-Olpin and Tyler Gillett
WRITERS:  James Vanderbilt and Guy Busick (based on characters created by Kevin Williamson)
PRODUCERS:  Paul Neinstein, William Sherak, and James Vanderbilt
CINEMATOGRAPHER:  Brett Jutkiewicz (D.o.P.)
EDITOR:  Michel Aller
COMPOSER:  Rich Delia

HORROR/MYSTERY/THRILLER

Starring:  Neve Campbell, Courteney Cox, David Arquette, Melissa Barrera, Jenna Ortega, Jack Quaid, Mikey Madison, Marley Shelton, Dylan Minnette, Jasmin Savoy Brown, Mason Gooding, Sonia Ammar, Kyle Gallner, Chester Tam, Skeet Ulrich, and Roger L. Jackson (voice)

Scream is a 2022 slasher horror film directed by Matt Bettinelli-Olpin and Tyler Gillett.  It is the fifth film in the Scream film series, which began with the 1996 film, Scream.  In Scream 2022, a new series of murders forces familiar faces to return to Woodsboro, where they will confront a horrible legacy.

Scream opens twenty-five years after high school pals and serial killers, Billy Loomis (Skeet Ulrich) and Stu Macher, terrorized the town of Woodsboro as the killer known as “Ghostface.”  Now, Ghostface (voice of Roger L. Jackson) has returned and high school student, Tara Carpenter (Jenna Ortega), is the first victim.  

Informed of the attack on Tara, her estranged sister, Samantha “Sam” Carpenter (Melissa Barrera), returns to Woodsboro with her boyfriend, Richie Kirsch (Jack Quaid), reluctantly along.  Sam is not only troubled by the attack on Tara, but she is also dealing with her shocking connection to one of the original Woodsboro murderers.  With this new Ghostface adding to the body count, Sam turns to an original Woodsboro survivor for help, the reclusive, Dwight “Dewey” Riley (David Arquette).

Although he is initially reluctant to get involved, he contacts two other survivors, Sidney Prescott (Neve Campbell), and his ex-wife, television host, Gail Weathers (Courteney Cox), to inform them that the killings have started again.  Although she is the center of the new killing spree, is Sam Carpenter willing to stay and fight the killer, or will she simply run away from her past, again?

I'll start of my critique of the new Scream by repeating what I said of 2011's Scream 4.  As a slasher film, Scream 2022 is entertaining.  Ghostface remains a terrific and terrifying horror movie villain, although in the new Scream, he does lots of slashing and stabbing, whereas Scream 4's Ghostface slaughtered his victims to the point that they seemed like butchered meat and offal.  Neve Campbell, Courteney Cox, and David Arquette are still the “old reliables,” of this franchise, no matter how old they look or how much plastic surgery they may have had done.  Scream's new cast is, for the most part, pretty good.  As Sam Carpenter, Melissa Barrera seems like she could carry this franchise going forward – at least for two more films.  When the new Scream plays it straight, it is a better-than-average slasher horror film.

Scream 4 was the work of the franchise's original writer, Kevin Williamson, and original director, the late Wes Craven (to whom the new film is dedicated).  Scream 4 was a sequel and essentially a remake of the original 1996 film, but it was critical of two huge cultural changes that had occurred since the first film – Internet celebrity and social media culture.  [Williamson is only an executive producer on the new film.]

The writers and directors have offered in Scream 2022 a film that is a sequel and also a reboot.  This film is intimately connected to the original film, but it essentially reboots Scream with a new cast of both victims and survivors.  The original Scream was self-referential and was also steeped in pop culture, especially concerning horror films.  The new Scream essentially mocks both the idea of film sequels and the fan culture that is obsessed with sequels, prequels, reboots, and every detail concerning their making.

I thought Scream 4's rant against social media and celebrity seemed like the creation of two guys whose aging was putting an every widening gap between them and the core audience for the kind of films they made.  The new Scream seems like the work of dudes who don't appreciate the kind of fans they attract with the kind of the films they make.  In a way, if they can't stand the fan heat, they should get out the slasher film kitchen.

Anyway, I think the motivation behind the Ghostface of the new Scream would have worked better for the Ghostface of Scream 4.  So, I'll say about the new Scream what I said about Scream 4: it is best when it focuses on its great villain (Ghostface) stalking his victims.  For the most part, hardcore fans of this franchise will want to see Scream 2022 in movie theaters.  Anyone else who is interested can wait for on-demand and streaming.

6 of 10
B

Friday, January 14, 2022


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Review: "THE CONJURING: The Devil Made Me Do It" is Crazy and Scary as Hell

TRASH IN MY EYE No. 1 of 2022 (No. 1813) by Leroy Douresseaux

The Conjuring: The Devil Made Me Do It (2021)
Running time:  112 minutes (1 hour, 52 minutes)
MPAA – R for terror, violence and some disturbing images
DIRECTOR:  Michael Chaves
WRITERS:  David Leslie Johnson-McGoldrick; from a story by David Leslie Johnson-McGoldrick and James Wan (based on characters created by Chad Hayes and Carey W. Hayes)
PRODUCERS:  Peter Safran and James Wan
CINEMATOGRAPHER:  Michael Burgess (D.o.P.)
EDITORS:  Peter Gvozdas and Christian Wagner
COMPOSER:  Joseph Bishara

HORROR

Starring:  Vera Farmiga, Patrick Wilson, Ruairi O'Connor, Sarah Catherine Hook, Julian Hilliard, John Noble, Eugenie Bondurant, Shannon Kook, Ronnie Gene Blevins, Keith Arthur Bolden, and Sterling Jerins

The Conjuring: The Devil Made Me Do It is a 2021 supernatural horror film from director Michael Chaves.  The film is a direct sequel to 2016's The Conjuring 2 and is the third film in The Conjuring series and also the eighth film in “The Conjuring Universe.”  Once again, actors Patrick Wilson and Vera Farmiga play fictional versions of real life, American paranormal investigators, Ed and Lorraine Warren.  In The Devil Made Me Do It, the Warrens investigate a murder linked to demonic possession.

The Conjuring: The Devil Made Me Do It opens on July 18, 1981 in Brookfield, Connecticut.  Noted paranormal investigators, Ed Warren (Patrick Wilson) and Lorraine Warren (Vera Farmiga), are assisting in and documenting in the exorcism of eight-year-old David Glatzel (Julian Hilliard), which is being performed a Catholic priest.  The exorcism is also attended by David's parents; his sister, Debbie (Sarah Catherine Hook), her boyfriend, Arne Johnson (Ruairi O'Connor).  During the exorcism, the demon transports itself into Arne.  Ed witnesses this, but suffers a heart attack and falls into an unconscious state before he can warn anyone.

The following month, Ed wakes up at the hospital and reveals to Lorraine that he witnessed the demon enter Arne's body.  Meanwhile, Arne and Debbie have returned to their apartment located above Brookfield Boarding Kennels where Debbie works.  After feeling unwell, Arne murders the kennel's owner, Bruno Sauls (Ronnie Gene Blevins).  Arne is facing a capitol murder charge that could earn him the death sentence.  The Warrens insist that Arne's attorney defend him by claiming demonic possession as a defense.  Meanwhile, the Warrens have to find evidence that helps prove that Arne was possessed when he killed Bruno.  However, Ed and Lorraine are about to discover that in this investigation, they have both a human and a demonic adversary.

The Conjuring: The Devil Made Me Do It is based on the events surrounding the real life murder trial of Arne Cheyenne Johnson in Connecticut in 1981.  The film's narrative may also correspond with The Devil in Connecticut, a 1983 book about the trial written by Gerald Brittle.  Brittle is currently suing Warner Bros. and other parties, claiming they infringed upon his 1980 book about the Warrens, The Demonologist.

One thing that I have found is that The Conjuring film series is super-scary even when I don't focus on the Warrens' real-life investigations in which these film are supposedly based.  And The Conjuring: The Devil Made Me Do It is no less scary than the previous films in the series.  In fact, The Devil Made Me Do It may be the darkest entry in the series because it deals with horrendous human evil.  Director Michael Chaves wrings bone-chilling, heart-stopping terror from the horrific set pieces that make up The Devil Made Me Do It's narrative.  There is a sequence in a funeral home that had me glued to my chair, but I won't say more.  The fewer spoilers I offer, the more terror you will feel, dear readers.

Once again, Vera Farmiga and Patrick Wilson give excellent performances as the Warrens.  They have the gift of making the Warrens seem like two eccentrics who are not only a loving couple, but are also ass-kicking demon fighters.  The Conjuring: The Devil Made Me Do It is the kind of supernatural horror film that is as frightening as the best slasher horror films – with less bloodshed.  I hope The Conjuring series returns for a fourth time... and many more after that.

8 of 10
A

Tuesday, January 11, 2022


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Review "OLD" is a Crazy, Entertaining, Thrilling Movie

TRASH IN MY EYE No. 69 of 2021 (No. 1807) by Leroy Douresseaux

Old (2021)
Running time:  108 minutes (1 hour, 48 minutes)
MPAA – PG-13 for strong violence, disturbing images, suggestive content, partial nudity and brief strong language
DIRECTOR:  M. Night Shyamalan
WRITER:  M. Night Shyamalan (based on the graphic novel, Château de sable, by Pierre-Oscar Lévy and Frederik Peeters)
PRODUCERS:  Marc Bienstock, Ashwin Rajan, and M. Night Shyamalan
CINEMATOGRAPHER:  Micheal Gioulakis (D.o.P.)
EDITOR:  Brett M. Reed
COMPOSER:  Trevor Gureckis

FANTASY/THRILLER/HORROR

Starring:  Gael García Bernal, Vicky Krieps, Rufus Sewell, Abbey Lee, Nikki Amuka-Bird, Ken Leung, Aaron Pierre, Kathleen Chalfant, M. Night Shyamalan, Alexa Swinton, Thomasin McKenzie, Embeth Davidtz, Nolan River, Alex Wolff, Emun Elliot, and Kylie Begley, Mikaya Fisher, and Eliza Scanlen

Old is a 2021 horror-thriller and fantasy film from director, M. Night Shyamalan.  The film is based on the 2010 French-language, Swiss graphic novel, Château de sable (2010) by Pierre Oscar Levy and Frederik Peeters, which was published in English as “Sandcastle” in 2011.  Old the movie focuses on a group of people trapped on a secluded beach where they age rapidly, reducing their entire lives into a single day.

Old introduces husband, Guy Cappa (Gael Garcia Bernal), and his wife, Prisca Cappa (Vicky Krieps).  They are going through a difficult time and decide to take their two children, 11-year-old daughter, Maddox (Alexa Swinton), and six-year-old son, Trent (Nolan River), on a family vacation to a tropical resort.  On their second morning at the resort, the Cappas get an offer from the resort's manager for a trip to a secluded beach.

Although the Cappas initially believe that they will have the beach to themselves, they soon learn they will not.  They meet a surgeon, Charles (Rufus Sewell); his wife, Chrystal (Abbey Lee); their six-year-old daughter, Kara (Kylie Begley); and Charles's elderly mother, Agnes (Kathleen Chalfant).  The late arrivals are the close-knit couple, Jarin Carmichael (Ken Leung) and his, wife Patricia Carmichael (Nikki Amuka-Bird).  Trouble starts when they meet someone who was on the beach before them, the recording artist and rapper, Mid-Sized Sedan (Aaron Pierre), and then, discover the corpse of his female companion.  Accusations fly, but no one is really paying attention to the fact that the three children are changing … rapidly.

The film's of writer-director M. Night Shyamalan can be both sublime, such as his Oscar-nominated breakthrough, The Sixth Sense (1999), or ridiculous like 2004's eye-rolling The Village.  Sometimes, his films can be both, to varying degrees, such as 2000's Unbreakable.  Or his films can be surprisingly inventive and mostly entertaining, such as 2013's After Earth, 2016's Split, and now Old.

People once called Shyamalan the next Steven Spielberg, although his films seem closer to Alfred Hitchcock's.  At the heart of most Shyamalan films is a mystery, and that mystery holds the audience in suspense.  The problem can be that when the mystery is solved in one of his films, sometimes the suspense turns to befuddlement, but that doesn't really happen with Old.

After the first twenty minutes or so of introduction, Old offers about forty minutes of the best mystery and suspense that audiences have gotten in the last two years or so of American films.  Shyamalan builds this killer thriller by depicting his characters' varied reactions to their crazy and increasingly unbelievable situation.  Watching some of them revert to their old melodramas, others fall into to their mental challenges, and some approach their situation with a sense of curiosity and wonder can be invigorating.  Through these characters, Shyamalan offers so many intriguing points of view.

The film's last forty minutes is a mixture of science fiction and horror that is captivating, even when it seems a bit over-the-top.  At this point, Shyamalan turns to the Cappas' domestic drama in a way that bounces between being poignant or edgy or stock melodrama.  There is a happy ending, but it is best, in order to avoid spoilers, that I allow you to decide whether that happy ending is plausible or appropriate, dear readers.

I have never read the comic book, Sandcastle, that inspired Old, but from what I understand, the comic's narrative is a bit more ruthless with its characters.  Still, I found Old satisfying because of Shyamalan's seamless filmmaking and because of the way his uses the characters' aging to keep things hopping in the narrative.  I don't know if M. Night Shyamalan's Old will age well, but I do believe that it will always find an audience willing to be enraptured by its mystery and thrilled by its suspense … to one extent or another … like me.

7 of 10
B+

Thursday, December 9, 2021


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