From Hell (2001, Directed by Albert and Allen Hughes) English 9

Starring Johnny Depp, Heather Graham, Robbie Coltrane, Ian Holm, Ian Richardson, Jason Flemyng, Susan Lynch, Joanna Page

From Hell" | Salon.com

(9-Great Film)

Sinister. Gory. Lurid.

Abberline: This ain’t killin’ for profit. This is ritual.

Taking very loose inspiration from Alan Moore’s sensational, dense, intelligent graphic novel, The Hughes Brothers have dumbed down the material significantly. This isn’t a police procedural like the book, nor is it much in the way of character study. It is, instead, a big-budget slasher film with high production values. No wonder Alan Moore, the author, despised it. As for the critics, most of them anyways, who dismissed it, I think they were unfair. Depp plays Scotland Yard Inspector Abberline, as London nears the end of the 19th century, assigned to an unprecedented series of murders orchestrated by “Jack the Ripper.” Along with finding a group of prostitutes to be the killer’s targets, he grows close to one of them, Mary Kelly (Graham), while wading his way through what amounts to an epic conspiracy. The plot and the characters are complex without being especially deep or thoughtful. This is what many might hone in on, but I would call that missing the boat. The setting, atmosphere, performances, and stylish direction make this a superior slasher, a beautiful nightmare.

-Walter Tyrone Howard-

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Eyes Without a Face (1960, Directed by Georges Franju) French 7

Starring Pierre Brasseur, Alida Valli, Édith Scob, François Guérin, Juliette Mayniel, Alexandre Rignault,Béatrice Altariba

Amazon.com: Eyes Without A Face (Aka Les Yeux Sans Visage) Edith Scob 1960  Photo Print (28 x 22): Posters & Prints

(7-Very Good Film)

Grotesque. Uncomfortable. Unique.

Christiane Génessier: My face frightens me. My mask frightens me even more.

I entered this film overconfident, certain that this french “horror film” from sixty years ago couldn’t bother me, couldn’t get under my skin. I was wrong. It follows a physician, Dr. Génessier, earnest and fanatical in the grand tradition of mad doctors from horror fiction. His grown up daughter’s face is horribly disfigured and he’s vowed to restore it to its original beauty. To do this, he resorts to kidnapping and stealing unblemished faces off of unsuspecting women. Eyes Without a Face is a beautiful film in shimmering black and white. It’s also a bizarre fairy tale perverted into an effective horror. What shocked me was the surprisingly graphic surgical scenes. Its a fairly unsurprising narrative that hearkens back to Frankenstein and the novels of H.G Wells, but the imagery is unique and unforgettable.

-Walter Tyrone Howard-

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Scream 4 (2011, Directed by Wes Craven) English 7

Starring Neve Campbell, Courtney Cox, David Arquette, Emma Roberts, Hayden Panettiere, Adam Brody, Anthony Anderson, Rory Culkin, Mary McDonnell, Alison Brie, Marley Shelton, Anna Paquin, Kristen Bell, Lucy Hale, Britt Robertson

Classic Craven With A Twist: Scream 4 — Talk Film Society

(7-Very Good Film)

Fun. Clever. Worn.

The Voice: This isn’t a comedy, it’s a horror film. People live, people die and you’d better start running.

Scream returns! A little older, slightly tired. Like most horror sequels, Scream 4 pales in comparison with the original. But Scream is a superior horror franchise and Scream 4, especially compared to the fourth entry in most series, is still pretty good. The freshness is gone, and most of the surprise has dissipated, but the cleverness is still there. Sydney Prescott (Campbell), the series’ final girl, returns to her hometown of Woodsboro, where it all started. Naturally, some new psycho rises up to don the mantle of Ghostface and wreaks havoc on the town’s teenagers. The first film spoofed horror films, the second one spoofed sequels, skip the third film, and then the fourth film spoofed internet culture and fandom. Best of all, Scream 4 gave Wes Craven one last chance to show his flair for horror and gruesome thrills.

-Walter Tyrone Howard-

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Scream 2 (1997, Directed by Wes Craven) English 9

Starring Neve Campbell, Courtney Cox, David Arquette, Jamie Kennedy, Jada Pinkett, Laurie Metcalf, Omar Epps, Liev Schreiber, Timothy Olyphant, Jerry O’Connell, Sarah Michelle Gellar, Elise Neal, Duane Martin, Portia De Rossi, Tori Spelling, Luke Wilson, Heather Graham, David Warner

Scream 2' Ending, Explained: Why the Big Twist Makes It a Great Sequel -  Thrillist

(9-Great Film)

Clever. Suspenseful. Worthy.

Randy: There are certain rules that one must abide by in order to create a successful sequel. Number one: the body count is always bigger. Number two: the death scenes are always much more elaborate – more blood, more gore – *carnage candy*. And number three: never, ever, under any circumstances, assume the killer is dead.

“Gorier, sexier, funnier,” Scream 2’s adverts promised. I’d say it delivers. The rare sequel that might even surpass the original, though it’s debatable. Scream 2 moves its surviving characters to college, just about a year after previous events. Survivor and final girl, Sydney Prescott (Campbell), is effected but remarkably functional considering, though an avalanche is coming. A movie version (a movie within a movie) of past tragic events is coming out and two college kids were killed at the premier. It seems someone is at it again. Like its predecessor, Scream 2 is clever about the slasher genre’s limitations while simultaneously delivering on the genre’s tacit promises. Scream 2 isn’t as scary as the first one. I would argue that bigger with more characters and more over-the-top scenarios makes for less tension, but it is funnier and has a handful of incredibly suspenseful scenes (Sydney climbing over the killer to get out of a police car, for example). Also, perhaps as a response to how white the original film was, Scream 2 has an excellent opening scene from the black point-of-view.

-Walter Tyrone Howard-

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Freaky (2020, Directed by Christopher Landon) English 6

Starring Kathryn Newton, Vince Vaughn, Uriah Shelton, Celeste O’Connor, Misha Osherovich, Alan Ruck, Dana Drori, Katie Finneran

One More Trailer for 'Freaky' Body Swap Slasher with Vince Vaughn |  FirstShowing.net

(6-Good Film)

Goofy. Grisly. Entertaining.

Josh: Great. We’re gonna be killed by Murder Barbie.

Body swap comedies are inherently ridiculous and, in past, have been almost exclusively family flicks, Freaky Friday being the template. Freaky is decidedly not a family flick. Teenage outcast, Millie (Newton), is still mourning the loss of her father and trying to stay afloat at a school full of jerks and creeps. Stabbed one night by a local psychopath, known as the Blissfield Butcher (Vaughn), she swaps bodies with the mentally unstable giant. Even with the interesting twist on the body swap premise, much of Freaky functions the same as those previous comedies. Vaughn is now a teenage girl and the once meek Newton is now a single-minded killer. It’s a good setup for its actors to perform and be funny. Freaky basically delivers on that front which makes the over-the-top gore consistently surprising. Freaky isn’t remotely scary, but it is fun and grisly in a memorable way.

-Walter Tyrone Howard-

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The Ghost Breakers (1940, Directed by George Marshall) English 7

Starring Bob Hope, Paulette Goddard, Anthony Quinn, Willie Best, Paul Lukas, Richard Carlson, Paul Fix, Pedro De Cordoba, Robert Ryan

On DVD, 'Bob Hope: Thanks for the Memories Collection' - The New York Times

(7-Very Good Film)

Fun. Spooky. Well-made.

Larry Lawrence: I don’t mind dying, but I hate the preliminaries.

Apparently, The Cat and the Canary (another horror film starring Bob Hope and Paulette Godard) was such a big hit back in 1939 that the studio rushed out to try and emulate its success. They dusted off an old stage play, one that had been adapted twice before, and made The Ghost Breakers, a wonderful blend of spook house thrills, Hope’s rapid-fire comedy, and his chemistry with Goddard. He plays Larry Lawrence, a crime reporter on the run after a mix-up involving a local underworld bigshot. He stows away with the sympathetic-and beautiful-Mary Carter (Goddard), who has problems of her own. She’s inherited a large estate in Cuba, but the property is haunted. At least, that’s what someone wants her to think. Larry and his sidekick, Alex (Best), help her investigate. Like most of Hope’s early pictures, The Ghost Breakers is a lot of fun. Sadly though, it’s difficult to find in good quality.

-Walter Tyrone Howard-

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A Girl Walks Home Alone at Night (2014, Directed by Ana Lily Amirpour) Persian 7

Starring Sheila Vand, Arash Marandi, Marshall Manesh, Dominic Rains, Rome Shadanloo, Ana Lily Amirpour

A Girl Walks Home Alone At Night' Gets Stunning New Trailer - Bloody  Disgusting

(7-Very Good Film)

Cool. Affected. Intriguing.

The Girl: I’m bad.

A film marketed as the first Iranian Vampire Western is sure to be looking for cool points, therefore, it could hardly achieve the effortless cool of an old Steve McQueen flick. A Girl Walks Home Alone at Night is calculated; the soundtrack, the black and white photography, vampires. It’s a cavalcade of hipster touchstones. That being said, hipsters are people too, and I’m probably one, at my core. This is a hypnotically interesting movie. In a town simply called “Bad City,” corruption and moral decay abound. Arash, a young man with a good heart in a bad situation, meets the Girl (Vand), ominous and beautiful. A vampire, she lurks through town, righteous and violent, much as Clint Eastwood used to in old spaghetti westerns as the Man with No Name. Spaghetti westerns are clearly the biggest influence on this bizarre work; desolate town, sparse dialogue, visual storytelling, moral anti-hero. By its end, A Girl Walks Home Alone at Night does what it set out to do. It’s a cool movie.

-Walter Tyrone Howard-

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Let the Right One In (2008, Directed by Tomas Alfredson) Swedish 7

Starring Kåre Hedebrant, Lina Leandersson, Per Ragnar, Henrik Dahl, Peter Carlberg, Ika Nord, Mikael Rahm

Review: Let the Right One In

(7-Very Good Film)

Striking. Thoughtful. Memorable.

Eli: I’m twelve. But I’ve been twelve for a long time.

Any feelings I have about Let the Right One In are inevitably affected by my love for its American remake, Let Me In. In truth, I prefer Let Me In. It’s more polished, more tense, and better acted. Let Me In’s decision to “make the story more accessible,” as they put it (sounds horrible), I would describe as simplifying or chiseling it down to perfection. This has been one of my more unpopular opinions over the years and a good topic for debate, but I will focus the rest of this review solely on the film at hand, and it is a very good film, obviously laying the foundation for its successor which I consider a great film. A beautifully dark fantasy, Oskar is a bullied 12-year-old (the movie is set in the ’80s and you remember how intense ’80s bullying was, at least in movies) just trying to make his way in life when he meets and befriends Eli, a vampire, eternally 12-years-old. So starts easily one of the strangest relationships in film history, at times, romantic, sweet, sinister, twisted, what-have-you. Watching its course is mesmerizing and Let the Right One In is often a beautiful film. Nitpicking, maybe, or perhaps just a consequence of seeing the film long after its initial release, the effects, while still effective, are unpolished at many points in the film. It obscures some of Let the Right One In’s beauty.

-Walter Tyrone Howard-

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Sleepaway Camp (1983, Directed by Robert Hiltzik) English 7

Starring Felissa Rose, Jonathan Tiersten, Paul DeAngelo, Karen Fields, Christopher Collet, Mike Kellen, Robert Earl Jones

Sleepaway Camp (1983) - simonprior.com

(7-Very Good Film)

Campy. Bizarre. Transcendent.

Meg: If she were any quieter, she’d be dead!

Years after experiencing a traumatic (hard for me to discern) boating incident, young Angela is sent with her protective cousin, Ricky, to socialize at a nearby summer camp. The target of bullies and perverts alike, Angela does make one friend in Paul, smitten with her, while the bullies and perverts get there comeuppance from a mysterious killer. It’s difficult to tell if Sleepaway Camp is spoofing the slasher genre or if it really is just earnestly amateur. The dialogue is laughable, the story is preposterous, the acting ranges from decent to kitsch in the extreme. Regardless, this movie is pretty awesome. I laughed (I’m still laughing), covered my eyes a few times, and scratched my head often. Like other campy cult classics, Sleepaway Camp transcends the good or bad labels.

-Walter Tyrone Howard-

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The Fly (1986, Directed by David Cronenberg) English 9

Starring Jeff Goldblum, Geena Davis, John Getz, Leslie Carlson, Joy Boushel, George Chuvalo, David Cronenberg

The Fly's Deleted “Monkey-Cat” Scene Was Too Brutal

(9-Great Film)

Mesmerizing. Grotesque. Effective.

Ronnie: Be afraid. Be very afraid.

Seth Brundle (Goldblum) is quite possibly a genius. When the beautiful journalist, Ronnie (Davis), goes out with him one night, she stumbles upon his plan to create human teleportation. The two fall in love, and all seems well, but, in that grand H.G Wells tradition, Brundle’s experiment goes wrong and the result is his body’s slow decay and transformation into some kind of human-fly. Hard to watch at times, but harder to stop watching, The Fly is so beautifully disgusting. Goldblum and Davis have excellent chemistry and much of the first half plays out like a charming romantic-comedy. The second half, though, is pure horror mixed with tragedy. Whether you see Brundle’s downfall as symbolic of a cancer or another example of a brilliant scientist going too far and paying the price, The Fly is infinitely, grotesquely entertaining.

-Walter Tyrone Howard-

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