Halloween (2018) ***

A reboot/sequel of a classic film in a beloved series that was already rebooted/remade (in 2007) was always going to have strikes against it and be overly scrutinized. But as someone who doesn't hold the original  1978 film (and definitely not the series) in quite the same high regard as most horror fans (*ahem* Black Christmas(1974) is better), I am satisfied with Halloween (2018).

Ignoring all but the first film for this new sequel was a good call in my book. There are dumb characters and dumb moments, but that's true for every film in this series, by varying degrees. There is nothing overly clever about the 2018 film—barring one seriously lame scene with "the new Loomis", which was a huge misstep—it plays it straight as a solid slasher (one with a main character with some obvious history though). And Jamie Lee Curtis does the role justice—never going too Sarah Connor on us but still ready to battle her old enemy, yet with a realistic sense of fear and vulnerabili…

Shock Waves (1977) **

Despite having a great theatrical poster and a decent premise, Shock Waves (1977) is neither shocking nor does it really have many waves (though you may go through waves of boredom sitting through it). I'd seen this film before and it was just as snoozy as I'd remembered it. It wasn't the first Nazi zombie film but it may be the most lackluster.

Those hoping for a gorefest or laugh-out-loud fun will be disappointed—there is almost nary a drop of blood to be found and the film is grim but in a yawn-inducing way. What you get instead is an elderly John Carradine (resembling an elderly John Hurt) in essentially a bit part as a craggy captain, a complainy middle-aged man basically playing the same character as the Harry Cooper one from Night Of The Living Dead(1968) (which this movie is basically a variation of), a James Caan stand-in who has a sudden massive panic attack late in the game, no real sense of danger, and zombies that look Rutger Hauer (and would have been far mo…

DB Mix Series 4 – Electric Connections

Once again, two months since the last DB Mixeswere posted, and on the 16th day of the month, I present to you: DB Mix Series 4 – Electric Connections.

For those unfamiliar with these music challenges—my cousin Bryan and I alternately choose a concept, we each choose the appropriate number of songs, make a playlist, share with each other, then I mix the playlists, design the album art, and share with you! You can check out the previous DB Mixes here.

The concept this month was chosen by me—each of us was to make a 20-song mix where the preceding song was connected to the next one by a person—whether that be the main artist, a musician, producer, engineer, etc. The main rules set down were that we could not use the same artist (for a song) more than once and we also could not use the same person as a connection more than once. I went with an intentionally amateurish, cheesy cover design this time. Below the front and back covers for each mix I provided a legend (modified from Bryan'…

City Of The Living Dead (1980) ****

City Of The Living Dead (1980), the best of Lucio Fulci's four "undead" films made between 1979–1981, is all guts 'n ghouls 'n drills 'n maggots. It's not as iconic as Zombie (1979), it's not as atmospheric as The Beyond (1981), but it has the benefit of not having a main character portrayed by an insufferably annoyingly voiced child actor, as is the case with The House By The Cemetery(1981). The plot is pretty loose, but doesn't strike me as all that important—what matters is getting the characters from one gory Lovecraft-inspired set-piece to another. And though its tone is grim, City is a whole lot of fun. It also features one of Fabio Frizzi‘s best and most memorable scores. 
You can find my Lucio Fulci Feature Films Ranked list here.

The Hoo-Ha's: A Scary Storytelling Event

I'll be performing in this show a week from today—hope you can make it down!

The Hoo-Ha's: A Scary Storytelling Event
This Halloween season, join us at the Mediator Stage for a live storytelling event featuring selections from Alvin Schwartz's Scary Stories to Tell in the Dark trilogy.

$5 suggested donation with all proceeds to benefit the Day One Sexual Assault & Trauma Resource Center in Providence.

We'll have autumnal refreshments with vegan and GF options (donations appreciated!) and locally made Halloween crafts will be available to purchase.

October 21st, 2018
Mediator Stage
50 Rounds Ave, Providence, RI 02907 Doors at 7 PM, stories 7:30–9:00
$5 suggested donation Facebook event page here

Let's Scare Jessica To Death (1971) ***

Let’s Scare Jessica To Death (1971) is a melancholic exploration of mental illness that’s a little short on plot but has an appropriately creepy vibe. The actors aren’t amazing and some scenes come off a bit clunky or goofy but I appreciate the ideas behind the film—what is in the titular character’s head vs. what’s real? At times I was reminded of Polanski’s Repulsion (1966) but the psychedelic tone and editing style of Jessica is most similar to George Romero’s 70s output—The Crazies (1973) and, in particular, Martin(1978). The eerily atonal synth and piano—which serve more as chaotic sound design most of the time than a true score—create a foreboding atmosphere. Despite (or perhaps because of it) being a product of its time (and having a title that doesn’t really make sense), and with a little more finesse, Jessica could have been a true cult classic, but it's still worth a look.

Last Embrace (1979) ***

With Last Embrace (1979), Jonathan Demme tries his hand at a mystery/thriller in the vein of two titans of the genre but it’s missing the sense of humor and adventure that Hitchcock had and the melodrama and technical wizardry of De Palma. It feels a bit too much like a copy of a copy (a bunch of MacGuffiny stuff in the first half and callbacks to Hitch films galore), lacking both the charisma of a lead like Cary Grant or Gregory Peck and the audacity of De Palma’s grand set pieces but it’s still a fun flick with a solid cast—including Roy Scheider, doing his best to one-up Grant's leathery tan, and Janet Margolin, who does a hell of a job bouncing between mousy and femme fatale. Miklós Rózsa (who scored many a great film from the golden age of Hollywood, including the greatest film noir of them all, Double Indemnity (1944), and Hitch’s own Spellbound (1945)) is on hand to provide music.

For fans of North By Northwest (1959), Vertigo (1958), and Obsession (1976).

Heathers (1988) ****1/2

Heathers (1988) is like a John Hughes movie with more bite—a dark high school satire that still feels relevant 30 years later (and not just to high schoolers). Without Heathers there would be no Election(1999), no Mean Girls(2004), probably no Kevin Smith.

While it's not showy, director Michael Lehmann and his design team infuse his debut film with a hyper-real style that has aged quite well. It's no surprise that Batman Returns (1992) is my favorite Batman film and superhero film, because it was also written by this film's writer, Daniel Waters. Dialogue is Heathers' strong suit—honest, brutal, brilliant, hilarious, endlessly quotable—and the perfectly-cast leads (including Wynona Ryder and Christian Slater, only a few films into their careers at this point) deliver it with aplomb.

All the themes of Heathers remain pertinent—bullying, suicide, date rape, homophobia, popularity, power struggles, abusive/manipulative (boy)friends, school violence—all within the context …

The Pyjama Girl Case (1977) ***1/2

1977's The Pyjama Girl Case(La ragazza dal pigiama giallo) intertwines a murder investigation (based on a real case in Australia) by a craggy retired detective (played, amusingly, by Ray Milland) with a seemingly unrelated portrait of a woman in decline (Dalila Di Lazzaro). At times it's seedy (though never terribly exploitative) but also has a somber atmosphere hanging over the entire film—our lead character Linda clearly suffers from depression. An oddly eclectic but excellent score by Riz Ortolani fluctuates between synthesized disco and melancholic string queues. While not a giallo in the traditional sense (black gloved killer, high body count, dramatic lighting/production design)—it's actually more of a domestic drama than anything—it's still quite good and distinctive within the genre.

You can find my Giallo Feature Films Ranked list here.

Witchboard (1986) **1/2

Witchboard (1986) has soap opera level acting, alternately shirtless or open-shirted lead males, Tawny Kitaen both naked and possessed, psychic humor, and most importantly—"progressive entrapment". It's not particularly good but it's particularly fun and funny with an audience.