Monday, October 20, 2014
Vampire Doll (1970)
Yûrei yashiki no kyôfu: Chi wo sû ningyô / Legacy of Dracula
By the start of the seventies, the Kaiju Boom had finally burnt out. Gamera would struggle on for one more film and the Godzilla series would continue until 1975. Otherwise, giant monsters had worn out their welcome. It was in this environment that Toho decided to take a chance on a different kind of monster movie. “Vampire Doll,” or “Fear of the Ghost House: Bloodsucking Doll” as the original title translates, is the first of three vampire films the otherwise-non-prolific Michio Yamamoto would direct for Toho. All three films are rare and obscure in the States, which meant I went into this one with zero expectations or preconceived notions.
Kazuhiko travels to the Japanese countryside to visit his fiancee Yuko. Upon arriving at her mother’s large, dilapidated mansion, Kazuhiko is informed that Yuko recently died in a car crash. He disappears for weeks afterwards, causing his sister Keiko and her fiancé Hiroshi to travel to the same mansion and investigate. It quickly becomes apparent that Yuko is not dead, not quite, and this is only the first of many dark secrets her family is hiding. As the undead girl stacks up victims, Keiko and Hiroshi try to get the bottom of the Kazuhiko’s disappearance and the mystery of Yuko’s resurrection.
old dark house” movie. Kazuhiko arrives at the mansion in the middle of a thunder storm. Most of the story takes place in the mansion and the film doesn’t resist bathing the angles in shadows and cobwebs. A great deal of the plot revolves around people snooping into family secrets, much to the resentment of the family themselves. A very effective moment has Hiroshi approaching a locked basement door, stepping through a thin staircase. Ms. Nonomura stops him and locks the door behind them. The forbidden door, hiding a horrible secret, is another classic horror trademark. The family includes a deaf-mute man-servant named Genzo, a decision that recalls both Ygor and Dr. Orloff. Most effectively, the film has spooky fog wafting over a wet forest. The atmosphere and color of the film recalls both Hammer and AIP.
Despite being patterned in many way after classic Gothic horror films, “Vampire Doll” still maintains much of its Japanese roots. Yuko, the doll of the title, is referred to as a vampire a few times. Yet she doesn’t act much like one. She attacks her victims’ necks not to drink blood but because, as a child, she was obsessed with a scar on her mother’s neck. Instead, Yuko’s appearance is obviously patterned after the traditional Japanese onyro, putting her in league with Kaidan and Sadako. She has all the indicators: The pale face, the white funeral gown, the obscuring black hair, the unearthly movements, and a motivation based in the injustices suffered in life. The main theme of the film is one of familial shame and secrets. That’s not a uniquely Japanese topic but it does, it seems to me, speak to the country’s cultural identity.
Providing much of the film’s spooky tone is Riichiro Manabe’s score. The reoccurring theme makes great use of the harpsichord. “Vampire Doll” is also a good looking film and director Yamamoto smartly centers faces or axe blades directly at the viewer. One moment has a woman in bed seemingly floating in darkness. The cast is solid. Kayo Matsuo plays Keiko. Despite being a helpless victim that is tossed around by the plot, Matsuo remains likable and sympathetic. Yoko Minakaze is frosty and creepy as Ms. Nonomura, the mysterious matriarch most of the plot centers around. Akira Nakao is likable as hero Hiroshi and the beautiful Yukiko Kobayashi, last seen in “Destroy All Monsters” and “Space Amoeba,” is suitably uncanny as the undead Yuko.
Phantasm II (1988)
“Phantasm” was a decent sized indie hit in its day, gaining a vocal following and introducing an iconic villain. Despite coming right before the huge wave of American horror films seen in the eighties, “Phantasm” wasn’t immediately picked up for a series of sequels. Nearly a decade passed before “Phantasm II” materialized. Don Coscarelli convinced Universal to back the film, gaining a budget eight times larger then the first, allowing him to make a bigger, more elaborate movie.
The film begins with a flashback, establishing what exactly happened that night eight years earlier. Reggie rescued Mike from the Tall Man and blew up their house, saving them from the entity’s diminutive minions. Afterwards, Mike wound up in a mental institution, where he developed a psychic connection to a blonde girl he’s never met before. After getting out, Mike and Reggie team up again. The set out on the road together, hoping to hunt down the Tall Man, prevent him from taking over another town, and rescuing the literal girl of Mike’s dram.
flame is thrown. The movie’s crazy action theatrics peak with the chainsaw duel in the last act. One of the Tall Man’s human henchmen, a gas-masked wearing gravedigger, corners Reg in the basement. Reggie picks up his own chainsaw, prompting the digger to pull an even bigger saw off the shelf. In-between the blades crashing and sparking, you’ve got Reg making a dramatic, crotch-first leap over one of the spinning blades. “Phantasm II’ takes the “Evil Dead II’ approach to the sequelizing a horror movie, exploding a small horror story into a crazy action flick. Since “Phantasm” already had some crazy action in it, this is an even better fit for this series.
Working with a studio budget allows Coscarelli to take his natural creativity to even bigger places. Before heading out on the road, Mike and Reggie break into a hardware store. They load up on tools, cobbling together some improvised weapons. Reggie builds his infamous quadruple shotgun, welding two separate guns together. Mike builds a flamethrower from a blowtorch and some gas cans. Naturally, both weapons are used on nasty bad guys. Of course, it wouldn’t be a “Phantasm” movie without the flying, killer spheres. The classic variety returns. The sequel even recreates the head-drilling scene from the first film. However, the sentinel spheres gain some new tricks. One has a tiny saw blade, perfect for slicing off ears. The star of the show, however, is the golden sphere. It’s powerful enough to smash through doors, in one of my favorite shots. A whirling, round blades extend out. Those are utilized to eat through an unfortunate henchman, digging upward through his stomach and out his mouth. The sphere is even equipped with a friggin’ laser beam. Coscarelli’s creatively boosts the gore too. A nasty creature emerges from the spine of a girl, speaking in the Tall Man’s voice. The iconic villain is given an iconic send-off, pumped full of acid-soaked embalming fluid, melting from the inside-out. Cool stuff.
“Phantasm II” revisits most of the iconic imagery from the first film. The balls are back, the dwarves are back, the white room full of crates and a tuning fork are back, even the Hemicuda is back. The Tall Man has slightly more screen time then the first time around. His appearances run a similar course. He acts ominous during a funeral, appears suddenly behind a window, lifts people into the air by their collars, and shows up at the end to pull the heroes through a glass surface. Angus Scrimm is as ominous as before and the sequel certainly helped the character’s continued evolution into a fan favorite. Despite reprising most everything everyone loved about the first one, “Phantasm II” has none of the scares of the original. It lacks the first’s dream-like tone and surreal asides.
Creepy puppets and dolls are topics that “Tales from the Crypt” has handled before but I think “Strung Along” might be my favorite take the show did. A retired puppeteer, the man behind a “Howdy Doody” style TV show in the fifties, has since become a recluse. He has a lot of anxieties about his much younger wife and guards her social life closely. A note he receives in the mail about a revival television special has the old man resurrecting Cocoa the Clown, his trademark character. In order to work on the new show, he invites a young, special effects technician into his home. Of course, the old man’s relationship with his puppet is not as pure as it seems, Cocoa speaking to him when no one else is around. Because this is “Tales,” everyone has ulterior motives.
Here’s a funny bit of trivia. One of the main characters in “Strung Along” is an animatronics expert played by Zach Galligan. “Strung Along” was written and directed by Kevin Yagher, an animatronics expert who created, operated, and directed the Crypt Keeper sequences from the show’s beginning. Coincidence? I think not! The puppet aspect adds a fun gimmick to a typical “Crypt” story of infidelity and conniving spouses. The wife and the younger puppeteer are seeing each other and plotting against the old man. They cook up a crazy ploy to get the man to have a heart attack. It’s amazing the lengths people on this show go for some money. Zach Galligan is nicely cast, as his natural wholesome charm distracts from the character’s eventual betrayal. It’s great to see Donald O’Connor, a veteran of old Hollywood musicals, in a similarly meta-role as a passed-his-prime old man. “Strung Along” has the kind of ironic final twist viewers have come to expect from “Tales.” Yes, the puppet comes to life and gets to kill, the bad guys punished for their crimes. The final image nicely straddles the line between funny and creepy. “Strung Along” is another strong episode from “Crypt’s” overall strong fourth season. [7/10]
“Twin,” the season two finale of “So Weird,” expands upon the show’s mythology. Molly is in New York to perform on a late night talk show. Fiona spends time with her aunt Rachel, her father’s twin sister. Fi notices that, in her sleep, her aunt’s hand twitches in her sleep. Placing in a pen in her hands, she writes strange symbols. An example of automatic writing, Fiona soon discovers the symbols are a secret code the twins invented as a child to communicate with each other. Fiona begins to suspect these are messages from her father. Following the clues to the roof of a near-by building, she makes a terrifying discovery.
Knowing it’s a season finale, “Twin” ups the show’s stakes considerably. Fiona’s life is put in genuine danger. The episode builds nicely. Molly is anxious about performing, as the show’s agent gets badgering her about Rick’s death. Iris Quinn is very good as Fi’s aunt and plays off her own nervousness nicely. The moment she realizes that Fiona is right, that she is writing secret messages from her dead brother, pays off well. The finale of the episode features some great moments and some not-so swell ones. While Fiona rides an elevator to the top of a skyscraper, Molly performs her song for the talk show. “Love is Broken” is obviously about Rick’s death but, the show points out, was written beforehand. Molly gets another bad feeling when she notices her daughter is gone from the audience. While on the roof of the building, ghost-like demons emerge from the wall and attempt to drop her off the side to her death. The effects were questionable back in 2000 and look even worst now. What happens next might stretch disbelief. Fi’s dad reappears from the afterlife to save his daughter. It’s a long way to go just to provide some emotional closure but, thanks mostly to Cara DeLizia’s performance and the show’s smart writing, “So Weird” makes it work. It’s a strong note to wrap up the season on. [7/10]
Originally, season three was going to resolve all of the plot lines built up throughout the show’s run. The business with the aliens would have revealed its purpose, that the extraterrestrials have a plan for Fiona. The Philips family’s history of witchcraft and knighthood would have been explored more. The series was meant to conclude with Fiona entering Hell to rescue her father’s soul, finally conquering the dark powers pursuing her. This was not meant to be. One of two things happened first. The Disney Channel demanded a softer tone for the third season and Cara DeLizia left the series. Supposedly the two events were not related but I’ve never bought that. For the third season, Fiona, otherwise known as the main friggin’ character, was written out of the show. Alexz Johnson, a would-be pop princess with a stupid name, was brought on as a new main character named Annie, who had a routine destiny of her own - some bullshit involving a magical black panther - and would usually sing a shitty song every episode. All of the show’s mythology was dropped, making two seasons worth of build-up seem like wasted time. I remember hating the third season when it aired, hating that they wrote Fiona out of the show, and being really bummed out that the series essentially ended on a whimper. I’m done with “So Weird” for the year and I have no idea yet if I’ll continue to review the series next Halloween. I’d rather remember the show as the smart, subversive, well written and beautifully acted program it was. We’ll see. I guess we’ll known for sure in twelve months. As for now, “So Weird” gets a [8/10.] I’m so glad I revisited it.
Space Amoeba (1970)
Gezora, Ganime, Kameba: Kessen! Nankai no daikaijû / Yog, Monster from Space
“Space Amoeba” is the end of an era. The public’s enthusiasm for giant monster movies, experienced just a few years earlier, had started to wane. By the end of the sixties and the start of a new decade, kaiju movies were widely considered kid’s stuff. “Space Amoeba” would be the last film produced under the studio’s old star system. It would be the last giant monster movie the studio made with an A-budget. It was the first of the studio’s creature features made after the death of effects master Eiji Tsuburaya. It was even meant to be Ishiro Honda’s final science fiction film, though the studio would lure him back in 1975 to direct “Terror of MechaGodzilla.” Aside from the remaining Godzilla sequels, the film was the last monster movie Toho would produce in the Showa period. The movie seems especially old fashion now and; with its plot of adventurous journalists, superstitious islanders, alien invaders, and super-sized sea creatures; was likely considered a throw-back even in 1970.
The movie begins when an unmanned space probe is sent to study Jupiter. Along the way, the ship is possessed by an amorphous alien consciousness. Under the space amoeba’s control, the probe returns to Earth, crashing in the south sea. Meanwhile, a photojournalist is talked into photographing Seigai Island for a tourist company. Along with his girlfriend, a scientist, and a businessman of questionable scruples, he is challenged by the local tribe. They are fearful the old gods might be angered by modern man’s invasion. Their prophecy seemingly comes true when giant monsters, normal sea life grown to huge size, attack the island. The creatures have been possessed by the same space amoeba that came to Earth on the probe, the first step in its planned conquest of the planet.
Akira Ifukube’s score recycles musical cues heard in the latter most films. The islander’s song will definitely sound familiar to kaiju faithfuls. The subplot, of greedy businessmen looking to capitalize on some unspoiled land, recalls the earliest Godzilla flicks of the sixties. The cast is full of familiar faces. Akira Kubo, Atsuko Takahashi, Yukiko Kobayashi, Kenji Sahara, and Yoshio Tsuchiya all had major roles in past Godzilla movies. Looked at from this perspective, “Space Amoeba” makes it seem like the studio was starting to run out of ideas.
Yet “Space Amoeba” does offer some humble joys of it own. It’s a most unconventional of alien invasion flick. There are no flying saucers or alien leaders in funny outfits making villainous proclamation. Instead, Yog, as it was named in the American dub, is a far more insidious threat. It has no true form, only appearing as a glowing, blue mist. It slithers into organic beings, taking control of their bodies. In the shape of cuttlefish, crabs, or turtles, they grow into giants. For humans, they are controlled by ominous voices, telling humanity of its impending enslavement. The film reminds me a little bit of “The Thing.” The alien’s powers are potentially disastrous but, lucky for the human race, it fell in an isolated area. Granted, the freezing Arctic is more frightening then a tropical island…
Gezora. A giant kisslip cuttlefish, the kaiju doesn’t act much like an invertebrate. Instead, Gezora crudely crawls around on his tentacles, walking across the island like a normal person would. The animal’s eyes were located where the suit actor’s – stalwart Toho monster man Hauro Nakajima – kneecaps would be. So Gezora’s eyes are constantly bulging out at odd angles. Despite his appearance being borderline comical, the movie still makes Gezora work. His appearance is preceded by a glowing light through the water. His tentacles reach out and grab victims, tossing them through the air. A sequence where he wrecks the native village, smashing grass huts and attacking spear-throwing natives, is one of the best in the movie. Disappointingly, the movie kills off its best monster half-way through. Gezora is burned to death by the heroes, retreating to the ocean and expiring.
The other monsters are less visually compelling and entertaining but aren’t without their charms. Ganime, a giant rubble crab, is probably the least impressive of the film. He shows up, cracks a few buildings, tumbles off a hill, and gets blown up. Without explanation, the giant crab appears again at the need. Kameba, meanwhile, is a huge mata mata turtle. Like the real animal, he can extend his neck out very far. Though the motion is somewhat mechanical, it is fun to see the turtle’s head shoot out at super-speed. After Yog is defeated by his weakness – supersonic sound, for those keeping track – the two kaiju go at each other, giving the movie it’s required giant monster fight. There’s some fun stuff here, the crab flipping the turtle over its back. The two monsters plummet into a volcano together, along with the Yog-controlled human, which makes for a fitting ending. It feels very classical.
“Phantasm” is the ultimate cult horror series. That’s a loaded statement. “Evil Dead” has had a wider reach. “Re-Animator” is more critically praised. Only “Phantasm,” however, has the winning combination of being most beloved by its fans, maintaining one man’s vision, and never loosing its low-budget, home-made weirdness. The sinister Tall Man, persistent silver orbs, and ice cream man action hero have never crossed-over much with the mainstream either, keeping “Phantasm” well within the realm of cultishly adored horror fandom.
“Phantasm” focuses on two brothers, twenty-something Jody and his little brother Mike, and their best friend Reggie, the local ice cream man. After the sudden death of a mutual friend, curious Mike begins to notice some strange things going on at the local mortuary. The graveyard is watched over by a tall, gray-haired man, silent and scowling. Bizarre hood figures creep around the bushes at night. A floating silver orb, armed with a blood-sucking drill and stabbing prongs, flies through the funeral home’s hallways. The boy has stumbled upon a terrifying secret from beyond, dragging his brother into it. Now, all three must face the wrath of the Tall Man.
Cuda. In one especially poignant scene, Mike runs behind his older brother, always trailing behind. Everyone Mike cares about has left him. And, soon enough, Jody will leave him too. There’s the issue of sex too. “Phantasm” begins with a young couple fucking in a cemetery, an ironic juxtaposition of eros and thanatos. After the sex is done, the man is stabbed to death by the woman. Later, Mike spies on Jody as he goes down on the same woman in the same graveyard, interrupting the two before they can finish. As befitting a boy in that age-group, sex is still a mysterious thing to Mike. He’s both intrigued and terrified. Sex represents maturity. And maturity, inevitably, leads to death.
Which raises the second, most pressing issue on “Phantasm’s” mind. Most every horror movie ever is secretly about a fear of death. “Phantasm” tackles that shit head-on. Don Coscarelli has been open about the movie being inspired by Western countries’ odd burial rituals. We give the bodies of our loved ones to strangers who take them into obscured rooms, doing who-knows-what to them. “Phantasm” plays on these anxieties directly. The Tall Man just doesn’t embalm dead bodies, he shrinks them down into hooded dwarves, slave-labor for his alien dimension. This is only the starting point for the film’s deeper discussion about death. The Tall Man is inescapable. Like Michael Myers in “Halloween,” he usually walks at a calm pace. He has no need to run. Death is going to catch up with all of us eventually. The final scene reveals that Jody has died. In the final seconds, the Tall Man appears again, dragging Mike to his death from behind a mirror. Death is unavoidable and unstoppable. And has there ever been a better symbol of the inevitably of our mortality then Angus Scrimm’s Tall Man? An imposing, towering old man, with a wisp of white hair on his head, a scowling, perpetually angry face and a booming voice. He’d rightfully become a horror icon.
Yet when it’s scary, it’s frequently terrifying. Mike being pursued by the hooded dwarves is effectively creepy, playing on common fears of unseen things lurking outside. The first appearance of the sentinel orb has gone down in horror history as a classic moment. Because, of course, it’s awesome. The orb is such a novel creation that I’m surprised Coscarelli thought of it first. When the sphere slams into the random caretaker’s head, drilling his face, blood pouring out the opposite end, no one saw that coming in 1979. Two of the few female characters being abducted out of their cars on a foggy night are quite spooky. The final minutes of the film really pump up the suspense. Mike runs from the Tall Man, being doggedly pursued by the implacable man, the ominous theme music playing throughout. Images appear out of the night, attempting to frighten Mike into submission. The Lavender Lady stands behind some branches, wielding her knife. Tomb stones rise from the ground, foreshadowing everyone’s fate. And the Tall Man is never far behind. The loose plot runs on dream logic, creating the tone of a nightmare. This is most clear during two nightmare sequences. Mike awakes in his bed, in a graveyard, the Tall Man looming over him. Jody wakes up in the mortuary, the Tall Man slowly approaching down the hallway, his footsteps echoing. Eerie stuff.
There are flaws but I’ve always been annoyed when people say “Phantasm” is campy or funny. Maybe it is at times but the film is so effective as a horror film and is such a pure blast of creativity. The film was destined to become a cult classic and lead a number of sequels. [9/10]
The Rocky Horror Picture Show (1975)
For a while there, I was making a yearly habit of seeing “The Rocky Horror Picture Show” at our local Apollo Theater around Halloween time. However, I found my interest in the show waning a bit in 2012 and began to wonder if this was a trip worth taking every October. JD and I skipped “Rocky” last year but this year, I decided to give it another shot. It helped that a whole crowd of friends was coming along with us, many of them doing this for their first time. As someone who has seen the movie many times, newcomers being humiliated on-screen and reacting to the stage show is more entertaining then the film.
The shadow cast provides a level of unpredictability that makes the midnight screenings worth attending. This year’s was a mixed bag. The Janet this year was fantastic, tossing her blonde wig off during the floor show. I think the Rocky was the same performer we saw back in 2012 and just as enthusiastic. The Frank, meanwhile, was overly hammy, doing a lot of distracting dance moves. JD said he was trying to “out-Curry Tim Curry” which is, of course, impossible. Many of the other shadow cast members clearly did not know their lines, glancing back at the screen repeatedly. Yet, overall, they did a decent job. The crowd was into it, with far more people dressing up then in previous years. A chorus of die-hard fans sat at the front of the theater, having clearly memorized all the call-back lines, including many I had never heard before. At one point, my row was covered with toilet paper, rice, and toast crumbs. My energy didn’t flag like in year’s past, my spirits staying high with lots of singing and dancing. It helped that my companions were clearly having a good time. I had a good contact high going by the time the movie let out.
And then there’s the issue of Dr. Frank-N-Furter, the film’s villain/primary protagonist. The crowd loves Frank and that devotion immediately made Tim Curry a cult superstar. Yet Frank is not a good person. He casually murders Eddie. He manipulates everyone around him, forcing others to his whim without considering them at all. He clearly doesn’t care about other people. After a whole movie of abusing, killing, and screwing with everyone around him, he sings a song about how misunderstood he is. He’s such a textbook narcissistic sociopath that the only person who can clearly please him is an artificial man made just to do that. Maybe this is something that bothers “Rocky Horror” detractors yet it’s not really too different from the way slasher fans idolize Freddy or Jason. Frank is charismatic and gets some of the movie’s best song. The image of an omni-sexual Tim Curry strutting in lingerie has become the film’s iconic image for a reason. Despite this, the movie comes down pretty hard on Frank. He’s misunderstood, maybe, but he’s a misunderstood asshole and gets the death scene he deserves. The film can’t quite nail the tragic story arc it’s aiming for, even with Curry giving it all.
I came away from 2014’s “Rocky Horror Picture Show” experience with a renewed appreciation for the film. I know it’s not for everybody and I know a lot of people hate it. That’s fine. The movie can be off-putting to those not on its wavelength. A pop culture phenomenon like this doesn’t last for forty years without having some value. It’s the prime cult classic of the modern age and, when experienced while in the proper mood, can be a pretty good time. [8/10]
Saturday, October 18, 2014
King Kong Escapes (1967)
It’s a popular anecdote that, when “King Kong vs. Godzilla” came out, Kong was the more popular monster. I have no idea if that was still true by 1967 but I suspect it wasn’t. By that point, Godzilla was on his eighth film. This was only Kong’s fourth or so. The reason Toho waited five years to capitalize on that picture’s success probably has to do with legal issues. When a new solo Kong adventure rolled out, it wasn’t a sequel to “King Kong vs. Godzilla.” Instead, “King Kong Escapes” is a loose adaptation of the forgotten Rankin/Bass cartoon series that was airing around the same time.
Like nearly every Kong movie, the film begins with people arriving on an island. This time, it’s a group of U.N.-sanctioned explorers looking for oil. The soldiers don’t find oil on Mondo Island. Instead, they find Kong. Meanwhile, a mad scientist named Dr. Who has built a robotic Kong to dig up plutonium in the Arctic. When Mechani-Kong breaks down, Dr. Who’s dragon lady financier demands he track down the real thing to continue the digging. The three heroes are dragged along. It’s not long before Kong and his mechanical double are battling in the middle of Tokyo.
Usually, the monster action redeems films of this sort. “King Kong Escapes” starts strong but eventually disappoints. Not long after walking onto the island, Susan is menaced by Gorosaurus. Awoken by an attractive blonde’s screams, Kong leaps into action. The fight with Gorosaurus is a blast, the dinosaur drop-kicking Kong through the jungle, the ape bounding around. Befitting the big ape, he splits the dinosaur’s jaw open. The action continues as Kong fights off a sea serpent, once again saving Susan. Kong immediately falling for the girl is one thing. The ape taking orders from her after only a minute strains believability, even for a movie like this.
Mie Hama previously co-starred in “You Only Live Twice” just earlier that year.
As the title promises, King Kong eventually escapes Dr. Who’s clutches. Instead of delivering a rocking finale, the movie lurches into a weak last act. Kong swims to Tokyo, Mechani-Kong not far behind. Instead of crushing some JSDF tanks, Kong steps back, blinded by the bright lights. Bright lights turn out to be Kong’s weakness. Mechani-Kong continually blinds the beast with headlights, a lame Achilles' heel for sure. Fulfilling Kong movie expectations, the gorillas scale a tall structure - Tokyo Tower this time - a beautiful woman in hand. The main reason the finale disappoints is because Kong doesn’t dispatch his double. Instead, Madame X wrecks Dr. Who’s control room, Mechani-Kong plummeting from the tower to his doom.
Eisei Amamoto hams it up as Dr. Who. In the American version, the only commercially available version, he’s dubbed by Paul Frees, using the exact same voice he used as the Burgermeister. Mie Hama has fun playing the villainous seductress. Unfortunately, Akira Takarada isn’t given much to do and leading man Rhodes Reason is a bore. Despite speaking English, Linda Miller was shrilly dubbed by Julie Bennett. You will get tired of hearing her shout “Kong!” Akira Ifukube contributes a beautiful score, its sweeping romantic themes at odds with the goofy shit happening on-screen. “King Kong Escapes” is a middling affair, one of Toho’s least endearing kaiju flicks. [5/10]
Stephen King’s books are very successful. Movies based on Stephen King’s books have been, in general, successful. Movies Stephen King have had a direct hand in creating, meanwhile, have resulted in “Maximum Overdrive,” the crappy version of “The Shining” nobody cares about, and “Sleepwalkers.” “Sleepwalkers” has the sort of premise you’d expect from King’s cocaine years but was, amazingly, made in the early nineties, after he kicked the habit. It was also directed by Mick Garris, a man who has made many not-that-great movies out of Stephen King’s books and stories. I guess what I’m saying is, going into this one, I kept my expectations low.
“Sleepwalkers” begins with some made-up bullshit about sleepwalkers, cat-like monsters and precursors to vampires, that feed on the souls of virgins and are also, oddly, frightened of cats. The film follows what might be the last two sleepwalkers in existence. Charles and Mary Brady are an incestuous mother/son duo who are always on the run, fleeing from town to town after claiming another victim. After settling into a small Indiana town, Charles has his eye on Tanya, a virginal girl he goes to school with. When his mother’s appetite for souls grows stronger, Charlie has to pursue the girl more viciously.
“Sleepwalkers” is most valuable as a trashy horror movie. And, oh man, is it trashy. This is a film that opens with a cat leaping out from behind a closed door. The focus on the Brady’s incestuous relationship is strictly sensationalist, with close-ups on their flicking tongues and sweaty, entwined bodies. The gore in the movie is explosive and comes often. Glen Shaddix gets his hand torn off, blood splattering on the inside of a windshield. A ridiculous car chase follows, the fleeing Charles pursued by Dan Martin’s Andy. Andy is a black deputy who carries his cat everywhere, plays games with him while on the road, and makes up vulgar, nonsense songs. (That last one is a very King-esque touch.) The film seems obsessed with using non-traditional objects as stabbing weapons. A pencil is stabbed in an ear, heads are bashed with a camera and a flower vase, a man is impaled on fence rows and, most infamously, someone is killed with a corn cob. When Charles turns into a cat person in front of Tanya, he starts spouting cheesy one-liners. The best scene in the movie comes when Mary takes the fight to Tanya’s parents, decimating a fleet of cops, tearing Ron Perlman’s arm off. The violence is so excessive that I wonder if King didn’t write the movie as a parody of trashy eighties splatter flicks.
The score is loud and abrasive but, before the end credits roll, Garris turns his camera towards an army of cats fleeing a burning yard while Enya’s haunting “Boadicea” plays on the soundtrack. If “Sleepwalkers” had a hundred more images like that, it would’ve been a classic. As it is, the movie can’t quite rise to the level of gory guilty pleasure. It’s a bit too minor and dumb even for that. Imagine what a young Peter Jackson or Sam Raimi could have done with corn murder and cat people. In the hands of Mick Garris, it’s goofy and forgettable. [5/10]
Sometimes, the perfect actor comes across the perfect material for him. Has any one person been better suited to the vulgarian charms of “Tales from the Crypt” then proud vulgarian Joe Pesci? And he got a good script too, from reliable monster kid scribe Fred Dekker. In “Split Personality,” Jack, a gambler and con artist with a fetish for the number two, comes across his version of heaven: A pair of single, hot twins with a massive fortune to split. Despite Pesci playing a typical Pesci character – a slimy, sleazy schemer – the girls take a liking to him. While in the bed of a Las Vegas hooker, Jack hits upon the perfect con. He’ll pretend to have a twin himself, cooking up a bullshit story about how the two are never in the country at the same time, and seduce and marry both girls. His millions are seemingly secure until the twins stumble upon the truth.
Like I said, Pesci is perfectly suited to this material. In the cartoon world of “Tales,” the actor can be as big, bold, brash, and foul-mouthed as he wants. He rips into it, playing the ultimate scumbag and sleazy double-dealer. I like the way Jack thinks on his feet, immediately pulling knowledge of architecture out of his ass when he realizes the twins are the daughters of a famous architect. Pesci being an actor of limited range, he doesn’t stretch himself much to play his “fake” twin. In any other show, the audience would never buy anyone could believe his con. It flies in the “Crypt” though. Jacquline and Kirsten Citron play the twins. Both are beautiful and always talk with a slinky, sex kitten purr. When the twins, inevitably, turn homicidal, that purr becomes creepy. “Split Personality’ is also notable as the sole directorial credit of mega-producer Joel Silver. Silver’s work is competent and non-intrusive. The episode makes good use of color and close-ups. The final image is classic “Crypt” and looks like it was pulled straight from the comic page. There have been better “Tales” but “Split Personality” might be one of the most satisfying. [8/10]
“So Weird” did a good thing in bringing back Mackenzie Gray as John Kane, last seen in “Strange Geometry.” The hard living Kane has recently undergone a full-blown heart transplant. The tour bus stops by his house in hopes of talking him into playing on Molly’s new album. He refuses and, quickly, Fiona notices that John’s personality has completely altered. He’s lost all interest in music and is acting erratic. Fi soon discovers that he’s developed a passionate interest in aliens and UFOs. A more shocking discovery comes when Fi finds that Kane is cobbling together a device to communicate with extraterrestrials, the same aliens that have some connection to his new heart.
Gray’s role in “Strange Geometry” was brief but he made an impression. The show cooked up a juicy part for the veteran television and voice actor in this one. Gray gets to play nervous, frantic, excited, frightened, and stressed out. It’s a fully formed performance and plays to the actor’s strengths. Gray’s performance is the key to “Transplant,” another “So Weird” episode that grounds its far-out by making the concepts personal to its characters. Kane hasn’t just developed an obsession with aliens, he’s lost the ability to make music. It’s like his entire personality has shifted. The episode is ultimately less about connecting with UFOs and more about learning to survive a huge change in your life. The ending cements this. It’s not a big flashy effects sequence. Instead, John finds the wife of the man who gave him his new heart, realizing the connection and coming to grips with it. It’s nice to see Jack and Fi working together, instead of against other, for once. “Transplant” is not mind-blowing but is devoted to a great guest performance and features the strong writing and acting that characterized “So Weird.” [7/10]
Friday, October 17, 2014
Gappa the Triphibian Monster (1967)
Daikyojû Gappa / Monster from a Prehistoric Planet
As 1967 rolled on, like a giant monster lumbering through a city, so did the Kaiju Boom. A month after Shochiku unleashed Guilala on the world, another major Japanese studio tried their hand at this giant monster thing. Nikkatsu Corporation has the distinction of being Japan’s oldest film studio. By 1967, the studio was beginning to fall on hard times and, only a few years later, would specialized in softcore pornography. “Gappa the Triphibian Monster” was not only their somewhat-late-in-the-game attempt to ride the wave of interest in the kaiju genre. It was also an attempt to create an international hit. The company wanted to make a film that would play well overseas and, supposedly, the only Japanese films American distributors were interested in were giant monster flicks. Thus, “Gappa” was hatched.
“Gappa’s” plot is boldly derivative of other giant monster movies, curbing generously from “Gorgo” and “King Kong,” with a pinch of “King Kong vs. Godzilla” thrown in as well. The plot concerns an amusement park, the some-what naively named Playmate Land, sending a team of explorers to an unexplored South Seas island, in hopes of collecting rare animals. What the explorers find there is a fearful native tribe who worship a being called Gappa. Crawling though a cave under a volcano, the scientists discover an egg, out of which hatches a funny creature. The monster is taken back home and studied. Turns out the baby Gappa wasn’t alone. Its kidnapping enrages the monster’s parents, a giant-sized mother and father, who fly to Japan and wreck havoc on the cities of man. Despite scientists’ warnings, the greedy amusement park owner refuses to return the baby, leading to yet more destruction.
sources claim the film is an intentional parody of the genre. However, there’s little evidence in the movie itself to suggest this. The native islanders are so stereotypical that it pushes towards parody. When the Gappa couple first surface in Tokyo, the mother is carrying an octopus in its beak, which is a cute touch. However, the rest of “Gappa” is played totally straight. The characters are a generic lot. The heroes of the film are bland explorer type Hiroshi, even blander scientist Dr. Tonooka, and female journalist Itoko. A completely routine love triangle forms between the three, which is gratuitously inserted into one scene on a beach. Also included is a little kid that bonds with the monster. “Gappa” was released the same year as “Gamera vs. Gyaos,” the first in that series to turn Gamera into a Friend to All Children, so it’s unlikely that was an influence. Instead, the relationship between native kid Saki and the baby Gappa is straight out of “Gorgo.” The monster and the kid even wave to each other, as in that film.
The long scenes set on the boat before everyone arrives on the island drag. The scenes of the explorers interacting with the island natives also drag. Itoko is an especially problematic character. While in the Gappa’s cave, Hiroshi tells her she’s better suited to stay at home and raise babies. By the end of the film, she comes around to agree with him! Family is an awkward theme throughout the entire film. The villain of the film, the greedy Mr. Funazu, has a precocious daughter. Some time ago, her mother passed away and the little girl is eager to find another. In the final scene, watching the parent Gappas being reunited with their baby, moves the father to take his daughter’s hand, symbolizing their bond as a family being renewed. It’s an interesting theme to base a giant monster movie around but handed in a clumsy, and especially un-P.C., manner.
forward-facing eyes, presumably to make it more expressive and “cuter,” which honestly makes it creepier. I’ve watched so many Japanese monster movies this season that the scenes of city destruction are starting to blend together. The collateral damage is uninspired. Some tanks get melt, a bridge gets knocked over, and Atami Castle gets crushed once again.
There are a few striking moments in “Gappa the Triphiban Monster.” The only energetic monster mayhem is when the two Gappas battle a fleet of jets, exploding the planes with their blue breath weapons. That scene is shot at askew angles. Rare moments stand out, like the Gappas flying in front of Mt. Fuji, emerging from a mountain, or teaching their child to fly at the airport. The Gappa family reunion is set to a sappy love song which winds up being weirdly affecting.
lapsed into the public domain. So the film is frequently found on cheap public domain sets. The DVD I have is from Tokyo Shock, a legit distributor of Japanese films. The DVD does include both the dub and the sub, and some rudimentary linear notes, but otherwise is not an impressive set. The picture quality has a fine film of greasy, waxiness to it, making some scenes dark and hard to follow. Oh well. It’s unlikely a good release of “Gappa” is ever forthcoming. And I’m not sure the film deserves it, as it’s about as generic as a kaiju flick can get. [5/10]
Troll 2 (1990)
For years, I was aware of the fact that a movie called “Troll 2” existed. Nearly every video store I frequented as a kid had a copy. I never gave it much thought. I wasn’t aware of the movie’s legendary status as a well spring of unintentional hilariousness. Even the Badmovies.org review isn’t that passionate. I think the first time I heard it referenced as one of the worst ever was the notorious Something Awful review. Maybe that’s how it was with other people too. Some time after that was when people first started talking about “Troll 2.” Normally, when I watched a movie with a reputation like this one, I try and find something to defend about it. There’s no need to do that with “Troll 2.” It truly is as bizarre and hilarious as you’ve heard.
The focus is on the Waits family, especially youngest son Joshua, who is still visiting his Grandpa. Grandpa has been dead for six months. Joshua receives a stern warning from his Grandpa about goblins, evil creatures that turn people into vegetables and then eat them. The next day, the family heads to the small town of Nilbog, where they trade places with a rural family there. Immediately, Joshua realizes something is amiss in Nilbog, that the town is completely inhabited by goblins. It takes a while for his family to catch on but, soon, all of them are on the run from the nasty creatures.
unofficial knock-off sequels. I’m not going to question that. What, I think, makes the film so notorious is its inexplicable acting and unbelievable dialogue. Every performance in the film is stilted, off-note, and deeply miscalculated. Michael Stephenson huffs and puffs every line, his face red and sweaty. George Hardy tries to disguise an odd accent while stumbling over the terrible lines he’s been given. Margo Perry is somnambulist as the mom. Connie Young is simultaneously wooden and thin, coughing her way through her dialogue. Yet Deborah Reed, as the film’s incredibly named villain Creedence Leonore Gielgud, gives a performance so broad, exaggerated, and cartoonish that it overshadows every off-beat note of terrible acting in the film. Even the bit players, like the town sheriff or the owner of the local shop, are acting on an entirely different level, somewhere far away from what could be called aesthetically “good.” How can you blame them, when the dialogue is unlike anything any person who has ever lived in the entire universe has spoken? There’s no point in quoting it because you’ve already heard it and also the written word can’t do it justice.
The most strikingly weird thing about this incredibly weird movie is its anti-vegetarian bias. I’ve known a few vegetarians in my life time and all are non-intrusive, normal people. Meanwhile, in “Troll 2,” vegetarians are portrayed as the most vile, despicable creatures to ever live. They literally force their dietary philosophy down others’ throat. There is no meat or animal-derived products anywhere in Nilbog. Instead, they apparently subsist solely on a weird, green slime, spread on everything. Hilariously, the film completely misunderstands what vegetarianism is. The goblins kill people, transforming humans into green, vegetable slurry and devouring it. Did the makers of the film understand that most vegetarians don’t eat meat because they don’t want to kill something? Improbable.
the popcorn seduction scene tops it all. Creedence Leonore Gielgud sports an unflattering old librarian get-up throughout most of the film. Until she drops it, remaking herself as a scantily-clad sex symbol. She then seduces one of the male friends with a corn cob, the corn exploding into popcorn from their shared cobbing. Utterly unfathomable.
There are other ways in which this production is deficient. All the goblins are played by short actors, and sometimes normal-sized actors, in burlap sacks with the same three or four cheap Halloween masks on. The script is loosely constructed, to say the least, with a collection of characters wandering around, encountering the monsters. I actually sort of like the main synth theme, which is quite energetic. The film does repeat it several times though. The editing is usually sudden and jarring. Aside from the baffling acting and writing, the film is at least competently directed. You can always see and understand what’s going on, no matter how strange it is.
a similar reputation and that thing is impossible to sit through. “Troll 2,” meanwhile, it’s fairly easy to watch, endlessly quotable, and fascinating in its curiousness. The cult of “Troll 2” proves that incompetently made is not synonymous with a lack of entertainment value. Quality-wise, the movie is probably around a [4/10.] Entertainment-wise, the movie is probably around a [7/10.]
Best Worst Movie (2009)
Anyone who watches “Troll 2” will be repeatedly asking themselves, “How the hell did this get made?” What thought process went into putting these images on-screen? Writing that dialogue and having people say it in front of cameras? Was the movie even meant to be a horror film? All these questions demand answers. So a documentary about the making of “Troll 2” is a worthy proposition. “Best Worst Movie,” that movie, was directed by Michael Stephenson, the star of “Troll 2,” someone who obviously experienced these decisions up-front.
“Best Worst Movie” picks up twenty years after “Troll 2” was unleashed on the world, coming during the peak of the film’s cult fascination. It primarily focuses on George Hardy, who played the dad in the movie and now has a successful career as a dentist in his home town in Alabama. Most of the time, he lives a normal life, spending time with his daughter or doing things for the community. Sometimes, though, he’s invented to revival screenings of “Troll 2,” where he’s overwhelmed by the love people have for the one movie he ever starred in. “Best Worst Movie” tracks down most everyone else who was involved in “Troll 2,” seeing what they’ve been up to and how the movie’s reputation has affected their lives.
a good documentary about fandom. However, having endless scenes of people talk about how much they like a movie can be tiring. By the time “Best Worst Movie” gets to the biggest “Troll 2” fan in Austria, you really have to wonder why you’re watching this.
“Best Worst Movie” is much more interesting when it focuses on George Hardy. Hardy has a lot of folksy charisma. It’s not surprising that the guy appears so beloved in his home town. He clearly loves interacting with people. The film’s best moments come from tracking the ups and downs of Hardy’s relationship with his sole, notorious role. At many of the revival screenings, George is happy to perform his most famous line and enthusiastically interacts with fans. He happily goes with Stephenson as they track down the other cast members. However, where fandom and reality intervene produces the most joyously awkward moments. When his small town is having a screening of “Troll 2,” George seemingly spends a whole day talking everyone around him into seeing it. The townsfolks’ reactions vary from bemusement to barely-veiled intolerance. After being treated like a rock star at revival screenings, George and Michael head to a memorabilia convention in the U.K. There, nobody has heard of “Troll 2.” They stand at their booth all day, alone, unsuccessfully trying to catch the attention of passer-bys. A Q&A panel attracts four or five uninterested patrons. The “Troll 2” guys also attend a hardcore horror convention. Watching George’s patience for the horror fandom slowly eroded over the course of a day is amusing, especially to someone like me who has been to a few. By the end of the day, he’s disgusted. (Naturally, the film only focuses on the people in elaborate cosplays or those with crazy punk-rock hairdos, not the fans in jeans and t-shirts.) By the end of the film, George returns to his normal life, working with patients or making protein drinks in the morning. He admits to being burned out on “Troll 2” but also admits he’d return for a sequel. Clearly, he’s come to terms with his alter-ego as the dad who yells about pissing on hospitality.
Claudio Fragasso, is extremely entertaining. He doesn’t agree with the general consensus that he made a bad movie. He stands by “Troll 2” to this day and doesn’t have time for anyone who would disparage it. At a Q&A with the actors from the film, he yells at them from the audience, telling them they remembered things wrong. He gives the impression of someone who is extremely difficult to work with but committed fully to his art, no matter how ill conceived it might be. Claudio’s attitude is he’s made over twenty movies and as recently as 2012. He’s living the dream and no one gets to tell him otherwise. That’s hard to argue with. By interviewing the bit-players and major stars of “Troll 2,” we get a good impression of what an odd production it must have been. Actors talk about being unable to change dialogue, about working with an Italian-speaking crew that didn’t speak any English, or the thrown-together costumes and production design. I honestly wish more of the movie was like that.
So “Best Worst Movie” is a movie torn in two. When focusing on the bizarre characters that made this bizarre movie, it’s fascinating. When providing brief behind-the-scenes nuggets, it’s even more-so. When attention turns to the super-fans and conventions, it seriously drags. Perhaps the story behind “Troll 2” would have better told as an hour-long DVD special feature, instead of a feature length doc. Either way, I wish Michael Stephenson luck in his career as a director. I really want to see “Destroy,” a movie he’s been trying to make for a while about a serial killer who thinks he’s a vampire slayer. That sounds cool. [6/10]
Thursday, October 16, 2014
The X from Outer Space (1967)
Uchû daikaijû Girara
In 1967, the Kaiju Boom reached its zenith. The year would see every major studio in Japan release a giant monster movie. Obviously envious of the success Toho and Daiei had with their kaiju flicks, Japan’s other major studios, Shochiku and Nikkatsu, would get into the game, feeding the public’s unending hunger for rubber monsters wrecking cities. A crass genre picture like ‘The X from Outer Space” was uncharacteristic of Shochiku’s output, as the studio was better known for the neo-realist dramas of Yasujiro Ozu and Kenji Mizoguchi. This might be why “The X from Outer Space,” known in Japan as “Space Monster Guilala,” manages to be kookier then any other movie in a genre noted for its kookiness.
Seemingly set in the near future, “The X from Outer Space” concerns a manned mission to Mars, with a stop-over to a moon base. Before the crew can reach Mars, the ship is menaced by a glowing UFO and bombarded with small asteroids. The hull damaged, the ship returns to Earth, a bizarre fungal spore growing on the outside of the interstellar vehicle. From this spore grows a giant monster called Guilala. Guilala stomps through Japan, seeking power plants to drain their energy, before reaching, naturally, Tokyo. Once again, a brave squad of scientists and soldiers must figure out a way to stop this monster before it’s too late.
As silly as much of the sci-fi is, nothing is sillier in this movie then its monster. Guilala is, without question, the goofiest looking daikaiju ever put to film, goofier then even Daigoro. Guilala can best be described as a giant, mutating chicken-fungus from beyond Mars. Its body is seemingly reptilian, with the three-toed feet and dragging tail you’d associate with Godzilla. Despite this, Guilala is outfitted with some very un-reptillian features. Raised, wavy lines grow up and down the creature’s arms and legs. Guilala’s head looks like a stereotypical flying saucer was plopped down on top of your usual giant dinosaur. The beak is like a chicken but the rest of the head is metallic, with wings extending out of the sides. My favorite part are the goofy, bopping antenna extending from the top of his head, along with the bizarre, telephone-shaped horn. Oh yeah, and after consuming enough energy, Guilala can turn into a giant, fiery balloon. It says a lot that the most normal thing about Guilala is that he shoots fireballs out of his mouth. His baffling design has made Guilala the ugly puppy of kaiju fandom, beloved strictly because he’s so damn stupid looking.
“The X from Outer Space” wraps up on an appropriately unbelievable note. The scientists discover a mineral improbably named Guilanium. After spraying the monster with this, Guilala sprouts a white foam from his body. Covered in the stuff, the monster then shrinks down into a tiny, glowing yellow orb. The heroes then shoot said orb into space, in hopes that Guilala will never return. For a film as strange as “The X from Outer Space” is, the whole thing is topped off with an unbelievable soft jazz score. That’s right, you get to watch monsters wreck cities to hot sax and trippy trumpets.
After the reasonable success of “Ghoulies,” Charles Band and Empire Pictures decided to make another movie about little monsters making mayhem. That film’s creature designer and puppet master, John Carl Buechler, would make his directorial debut with “Troll.” It’s crazy to think that, two years after “Gremlins,” indie studios were still making low-budget rip-offs of it. I guess the public really wanted that “Gremlins 2” Joe Dante wouldn’t make for a few more years. Though referring to “Troll” as a “Gremlins” rip-off is slightly disingenuous. Aside from a horde of little monsters, the two films don’t have a terrible lot in common. “Troll” is actually a weirder fusion of a family flick and a fantasy movie.
The Potter family moves into a new apartment on the West coast. While father Harry and mother Anne move into their new home, daughter Wendy plays in the complex’s basement. There, she is abducted by a troll from another dimension. The troll assumes Anne’s identity and begins to wreck havoc in the apartment. Slowly, using his magical ring, the evil troll transforms many of the residents into monsters and their room into fantastical realms. Only the young son, Harry Potter Jr., notices that his sister is acting oddly. He befriends an old woman who lives up stairs, who turns out to be an ancient witch with a rivalry with the old troll. After she falls to the troll’s powers, it’s up to Harry to save the world.
the mean-spirited, amoral bastards they were in original mythology. Back in 1986, though, the typical conception of fairies was as day-glo cartoon characters. So it’s cool that “Troll” acknowledges the fae as nasty critters that do not have nice things in plan for humanity. In this mode, “Troll” is sporadically effective. The images of the troll turning his victims into giant pea pods are effectively gooey. One image the film returns to repeatedly is apartments turning into swamp-like, overgrown bogs, full of chattering, slimy creatures. The best moment in “Troll” occurs early on when a character reads “The Fairie Queene,” causing the plethora of monsters in another room to sing an otherworldly chant. I also like how casually the witch up-stairs reveals her identity. She has a mushroom familiar that lives in a pot and reads arcane text. The last act of “Troll” features evil vines and moss crawling out from under doors. A giant plant monsters seems to emerge from the top of the apartment, an underutilized effect. The film doesn’t have much opportunity to explore it but “Troll” does build up a decent mythology.
However, “Troll” is mostly a cheesy eighties flick. This is most evident in the bizarre collection of characters living in the apartment. Sonny Bono, of all people, plays a swinger that lives up-door. Bono being anybody’s idea of a cool dude, especially in 1986, is baffling. His reaction to the little girl turning into a troll is surprisingly nonplussed. That rampaging little girl, who bites people, screams about “rat burgers,” and tosses her toys into the air, is singularly bizarre too. One of the apartment residents is a former military officer and would-be survivalist who gets a close-up encounter with the troll, the movie’s most horrific sequence. Julia Louis-Dreyfus has her film debut here as a struggling actresses. The troll turns her into a partially nude nymph, who teleports through a magical forest, definitely the weirdest scene in the movie.
The secret weapon in “Troll’s” oddball arsenal is its surprisingly excellent cast of character actors. Michael Moriarty doesn’t get a chance to stretch his eccentricities as an actor much, save for one bizarre scene where he dances around to a hard rock cover of “Summer Time Blues.” June Lockhart, otherwise known as the mom from “Lost in Space”and “Lassie,” plays the witch and has a good time biting her way through hammy dialogue. The best performance in the movie belongs to Phil Fondacaro, making his second appearance this Halloween. As the dwarf, and English teacher, that lives in the apartment, he befriends the little girl. While having dinner at their home, he’s the one who reads “The Fairie Queene,” doing so quite well. Later on, when the troll comes for him, he first delivers a surprisingly morose monologue about suffering from illness and coming to terms with his dwarfism as a young boy. He talks about how he'd rather be a fantasy creature then an overly short human. Somewhat bitter-sweetly, the troll then turns him into an actual fantasy creature. It’s a sad and melancholic moment in an otherwise silly movie. Disappointingly, Phil is one of the film’s numerous subplots left unresolved.
a remake for a while now. However, this desire steams less from wanting to explore the ideas of “Troll” more fully and more out of wanting to exploit the movie’s unintentional connection to that other Harry Potter. [6/10]
Maniac at Large
“Maniac at Large” benefits from a strong central performance and a great setting. Taking place in some alternate reality where library are considered important social centers, the episode follows a young librarian named Margaret. The town is currently gripped by reports of a serial killer which is making Margaret very, very nervous. Seemingly everyone around her is contributing to that nervousness. Her boss is a mean-spirited harpy. The security guard at the library is hard drinker that keeps a secret booze stash in the basement. Most prominently, a library patron that refuses to leave is very interested in talking to Margaret about the serial killer’s methods. By the time she’s left in the library by herself, to close up for the night, Margaret is ready to shake apart. And the killer is closer then she realizes.
I can’t think of many horror movies off the top of my head with sequences inside libraries. That should change because, as “Maniac at Large” proves, there a good setting for thrillers. The dusty books, the huge shelves that project eerie shadows, the large clear doors, all add up nicely. John Frankenheimer, who directed some great movies and some not-so-great ones too, contributes some very solid, atmospheric direction. Shadows are used very well. Bill Conti’s music is simple but effective. Blythe Danner’s lead performance is fantastic and she’s great at appearing terrified. Adam Ant, unexpectedly, gives a good performance too, as the creepiest guy in the episode. The twist end is projected a few scenes in advance but proves very satisfying. The final minutes of the episode are actually fairly creepy, wrapping up the plot without putting too fine a point upon it. “Maniac at Large” is a solid mid-tier “Crypt” episode. [7/10]
In an unexpected move, “So Weird” devoted more-or-less an entire episode to a Mackenzie Philips’ concert. The plot is threadbare, mostly focusing on Molly performing on-stage. The drama of the episode comes from Fiona’s insistence that she’s close to uncovering the mystery of her father’s death. Knowing that a similar interest in the paranormal is what led to her husband’s death, Molly is concerned. Concerned enough to end the tour with this very performance, briefly throwing the back-stage into chaos. Otherwise, “Encore” is devoted to giving “So Weird” fans a chance to hear many of the show’s songs in their entirety. There’s the emotional “More Like a River,” a soft ballad obviously about Molly’s grief over loosing her husband. The show’s theme song, “In the Darkness,” is finally played all the way through. We’ve heard “She Sells” so many times over the season while “Another World” might as well be the personal theme for Fiona’s relationship with her father.
Whether or not you enjoy “Encore” will probably depend on how much you enjoy Mackenzie Philips’ singing. Even if some of the lyrics are a bit rough and too on the nose, I’ll admit “So Weird” has won me over in that regard. A lesser show would have made “Encore” essentially a clip show. And there are elements of that here, as flashbacks are shown throughout Molly’s song. However, the episode still builds up an emotional center. Fiona’s nerves are starting to fray because she knows she’s on the edge of something big. Molly, meanwhile, fears for the life of her child, knowing what happened to her husband. Jack, meanwhile, remains skeptical and slightly ignored by her sister’s intense interest. Instead of just being a filler episode, “Encore” becomes a pretty important part of the characters’ emotional development. It’s short on supernatural elements though, save a possibly imaginary appearance from Fi’s dad. [7/10]