Could 1981 have been any more phenomenal in the realm of horror flicks? I don't really see how, as it is now universally known as a magical year in film-making, music, and pretty much everything else. Literally tons of horror films were released in 1981, one of them being the sequel to John Carpenter's masterpiece, HALLOWEEN.
Neatly picking up exactly when the original left off in one continuous story flow, the movie starts with the ending of the original. Dr. Loomis runs down to the yard screaming "call the police!". After some POV shots of Michael still alive and still creeping the neighborhood, we are treated to the sight of an ambulance showing up and whisking Laurie away to the emergency room for treatment. Meanwhile Dr. Loomis runs off into the night, determined to track down the murderous madman.Not finished with Laurie, he inevitably tracks her down at the nearby hospital, and disposing of anyone in his way.
I love this movie and there are many things I love about it. For one, the fantastic atmosphere! There are many great, eerie shots of dark, deserted hallways in the hospital, which leave a lasting impression. Director Rick Rosenthal takes a cue from John Carpenter,as he wisely mimics his use of blues and orange in the nighttime scenes, only this time giving us shades of green and red, especially in the hospital.
The score is another great thing going for the movie. The original, iconic score has been pumped up electronically here, which almost gives it a nice Dario Argento effect. Dare I say that I actually enjoy this score more than the original? Yes, I actually do. It's actually a sensational score, and one of my favorites. I also like the addition of the Chordettes "Mr. Sandman"- somehow, it just fits.
I love that Nancy Loomis, Charles Cyphers, and Nancy Stephens, along with Jamie Lee Curtis and Donald Pleasance, all return for cameos. And what a setting! That dark, creepy hospital is a perfect setting for a killer to silently stalk. Sure, there are faults with the movie, (I was beginning to suspect that Dr. Loomis might have contracted rabies by that point- he certainly foams at the mouth in this one...), but I will always defend and love HALLOWEEN 2- simply because it's still hands down the best sequel in the whole franchise.
I really like how HALLOWEEN 2 adds a touch of the urban legend to the mix- apples filled with razor blades and monologues about Samhain. It's a nice touch and works just fine for me, as I was a kid when these movies were released, and they were a huge part of Halloween for me. HALLOWEEN and its early sequels were hugely influential on me back in the late 70's and early 80's. They were some of the first scary movies I started watching and made a huge impact on me. The image of Michael Myers silently gliding through those dark, empty hospital corridors really stuck with me as a kid and it was such a part of my movie-going youth that it's impossible for me not to love it. And it still bathes me in a warm, orange nostalgic glow that instantly takes me right back to childhood. This movie perfectly sums up my childhood vision of Halloween and all its magical, mythical glory.
This is the last movie before they inexplicably started changing the mask- it grows more and more ridiculous looking as each lame sequel is released. For me, this is the end of Michael Myers. In my mind, he dies in the fires of Haddonfield Memorial because I simply cannot take him seriously when he returns in the fourth installment and it was the original wish of John Carpenter, Debra Hill, and Tommy Lee Wallace anyway. I'm gonna side with those guys.
Fans complain of Jamie Lee Curtis being wasted as an actress in this movie- but let's not forget, her character, Laurie Strode, is supposed to be in great pain and shock-nearly catatonic. It's only when she's fearing for her life does adrenaline kick in and causes her to haul some righteous ass. Movie-goers apparently loved the idea of a sequel to John Carpenter's 1978 classic as it easily crushed the competition that year, beating such notable slashers as FRIDAY THE 13TH PART 2, MY BLOODY VALENTINE, THE PROWLER, and THE BURNING at the box office, grossing $25.5 million. And how cool is the movie poster for this one? A worthy sequel, in my humble opinion.
Attempting a remake, much less a sequel to an Alfred Hitchcock movie must be a daunting task, to say the least. Having to continue a story started by Hitchcock himself would almost lead to a disaster, you would think. However, I find the sequel to one of his most iconic movies to be not bad at all. In fact, I love this movie. Now it's not even fair to try to compare the two- I mean, it's Alfred Hitchcock you're comparing it to. But the sequel is surprisingly slick and entertaining. It helps having Anthony Perkins reprising his infamous role as Norman Bates, and Vera Miles returning as Janet Leigh's sister in the original, Lila Loomis. While watching, one can't help but marvel at Perkins. He's just so good as Norman. He was meant to play this role. It also helps that this sequel is unpredictably chilling, scary and gruesome, and even manages to be almost touching at times. "Psycho 2" doesn't rip-off the original at all, I think. I believe that truly stands on its own and is a fine sequel in its own right.
It's been 22 years since he notoriously murdered Janet Leigh in that shower, and Norman Bates has been declared legally sane and is finally being released from the mental facility to begin a new life. Lila, the sister of Janet Leigh's character from the original, is determined to keep him locked up though, convinced he's still a dangerous killer. Norman takes a job at a local diner and meets Lila's daughter, Mary, played by Meg Tilly, who moves in with Norman. Suddenly strange things start happening in the old Bates house. Norman begins having visions of his dead mother- is he still suffering from psychological issues or is someone trying to get him re-committed? A nice little mystery/thriller begins, with many neat little plot twists to keep it entertaining.
A whopper of an ending wraps it all up nicely, although opening the door for another sequel, which probably wasn't a good idea. The wonderful score by Jerry Goldsmith adds a haunting touch, and smartly doesn't try to copy the iconic original score. "Psycho 2" is actually a pretty good slasher, and severely underrated as a sequel. This could have been a disaster, but luckily for us it wasn't. This is actually one of the best horror sequels ever made. Trust me. There are far worse horror movies out there.
Words cannot describe my love for the sequel to FRIDAY THE 13TH. I have vehemently defended this film since the 80's, and I'm pleased to say that it's finally getting the respect that it most certainly deserves. To me, it's one of the greatest slashers of all time, and was one of the scariest films to ever come out of the 80's. At least to me. Major nightmares, kids.
It opens with a bang. Adrienne King, Alice from the first film, is trying to put her life back together after her ordeal at Camp Crystal Lake. She has an apartment not far from the camp, and dealing with it all through her art. She lives alone, and one dark night, receives a strange phone call. Alice instantly knows something is wrong, and so do we. It's a great, scary opening scene full of roving camera work and that frightening score that immediately sets a tone of dread and fear. And most importantly, it establishes that Jason is very much alive, and hell-bent on revenge for the death of his mother.
Flash forward 5 years. Camp Crystal Lake has been closed and abandoned. But a nearby camp has opened, and once again a group of counselors roam the woods care-free, not knowing that they are being watched. And stalked. It seems there truly is a death curse on Crystal Lake, and before you know it, the blood is flowing.
FRIDAY THE 13TH PART 2 is in my opinion one of the best and scariest slasher films ever. The final twenty minutes are quite scary, and overall, this is a bit more of a polished effort. Being a sequel, of course the body count is higher, although not quite as gory as the original. Doesn't matter though. This one makes up for its lack of gore with dread and suspense.
Part 2 fully establishes the mythology of Jason Voorhees, and does it quite well, actually. The genius of FRIDAY THE 13TH is that the tale of Pamela and Jason Voorhees could be told around any campfire in any decade, and scare the kiddos to death. It presents the story as myth already. And that myth tells us that Jason never really drowned as a child, that he witnessed his mother's beheading and simply ran away to live in the woods, growing up to be this stalking, deformed mongoloid... which I can swallow. Sure. He could have ran off and lived in the woods, growing hair and whatnot. I can buy that. Much more than a Jason in space or in Manhattan.
Like the original, it's actually much better than it's reputation- it's a good, solid creative effort all around. It seriously contains some of the best stalk/chase scenes in any slasher flick I've ever seen. 2 isn't as gory as its predecessor, but that's the censors fault. They really cracked down on this one, and sadly, Carl Fullerton (who replaced Tom Savini on this one) found much of his effects left on the cutting room floor. I don't really think it hinders the film, though. At all.
Amy Steel makes a great heroine here. She's tough, and gives Jason a run for his money. She is a great and memorable Final Girl, and her appearing in APRIL FOOL'S DAY only ups her coolness factor. Warrington Gillette and Steve Daskawicz brought to life my favorite incarnation of Jason Voorhees- he's downright terrifying. There's just something very frightening about the sack cloth, and I never got the hatred of it. Steve Miner stylishly and steadily directs the shenanigans, and of course the iconic Harry Manfredini returns with the brilliant score. It has likable characters, it moves along at a brisk pace, and you can tell that a lot of creative effort went into the making of this installment. It doesn't come across as some sleazy excuse to knock off a bunch of teenagers. Sure, there's a body count- it is a slasher of the early 80's, after all. But this film had a lot of talent and creativity involved, which ultimately raises it to a higher plateau.
1981 was a banner year for horror, and FRIDAY THE 13TH PART 2 was most definitely one of the stronger slashers to hit theaters that year. Not only is it a damn good slasher, but it's a fantastic time capsule of the early 1980's. Especially if you were eleven years old like I was when this hit theaters.
A lonely woman travels by train to a fog-drenched, sleepy seaside town. Her destination- a gloomy old mansion named Collinwood...
Originally airing on ABC in 1966, "Dark Shadows" started as a deliciously gothic and gloomy afternoon soap. The story was about a woman, Victoria Winters, who was raised an orphan and takes a job as governess at the seaside manor of Collinwood, in the small town of Collinsport, Maine. Victoria soon learns that something strange is going on with the mysterious Collins family, led by matriarch Elizabeth Collins Stoddard. Film legend Joan Bennett played Elizabeth, giving an air of class to the show. The first season languished on- to be honest, not much really happens in the first season. Basically the cast of characters are introduced, and while watching, you can tell that something is eventually going to happen, but it does take its time getting there. In fact, the show was dangerously close to being cancelled and lost forever in oblivion.
However,with the sudden introduction of a character, Barnabas Collins, near the end of Season One, it became an instant, world-wide phenomenon as it took a full-blown turn into the supernatural. Barnabas, you see, is a vampire who's been locked away in his coffin for the last 250 years or so. Once Barbabas arrives at Collinwood, all hell breaks loose as all sorts of supernatural shenanigans start to happen. "Dark Shadows" was certainly no ordinary soap opera, and while most soap operas are addicting, this one is about the most addictive of them all. People went absolutely nuts over this show back in the latter 60's. And it's easy to see why.
First of all, it's campy. Shot on a low-budget, there are many shots where you can plainly see the overhead microphone, shadows of the crew members, and actors constantly flubbing their lines. Yet, all of this only adds to the appeal of "Dark Shadows". It becomes almost as if you're watching a stage production. "Dark Shadows" also broke new ground for a daytime soap. Seemingly no topic was off limits- besides the lead star being a vampire, the show would introduce witches, demons, ghosts, werewolves, bodies in the cellar, and even the Devil himself at one point.
Second, television audiences had just never seen anything like this before. "Dark Shadows" was absolutely unique from the very first episode. Shot in black and white at first, the show incorporated many classic horror film elements. Creaking doors, fog-swept mansions, and many other Gothic trappings all helped the wonderfully spooky atmosphere the show would become known for. "Dark Shadows" also concentrated more on character and plot, rather than cheap scares. The show still provided many great, eerie moments.
As campy as the show could be, it still boasted a most impressive cast- one of the most impressive assembled for any American daytime television series. Besides the aforementioned Joan Bennett, many other Hollywood and Broadway actors and actresses contributed to the show- Jonathan Frid, Grayson Hall, Abe Vigoda, Marsha Mason, Nancy Barrett, Thayer David, Kate Jackson, and Louis Edmonds, just to name a few. The show was also clearly inspired by the film-noir and Gothic cinema of the 1940's.
"Dark Shadows" deliberately moved slowly but surely. Building tension and suspense, the show took its time developing story lines and plot elements. Relying instead on shadows, fog, candlelight, whispers, and mysteries to weave its hypnotic and addicting spell. The show was a huge smash, shooting Jonathan Frid and the rest of the cast to instant superstardom. A merchandising explosion would follow as well, offering up everything from lunchboxes to board games. The show was truly a phenomenon of the 60's. And extremely influential, as well. The supernatural soap has attracted a huge cult following that easily rivals that of "Star Trek", and shows no signs of slowing down. Beloved by its millions of adoring fans, "Dark Shadows" is truly immortal. Although one of the most far-fetched television shows of all time, it's also one of the more believable because of its bloopers. Because in real life, we all flub our lines and knock things over from time to time. I'm going back, thanks to Netflix, and re-watching every episode of this wonderfully dark and strange show. Right now, I'm getting deep in to Season Two, and things are really starting to pick up. This is great stuff, and I highly recommend it.
Leading up to its release in 2008, CLOVERFIELD had been hyped for months via viral marketing and media coverage. Sometimes I get weary of mass marketing of a movie- there are times where the finished result just didn't live up to all the hype. So did CLOVERFIELD live up to all the hype, you ask? Absolutely. It is one of the most enjoyable and original monster movies I've ever seen. By using the same hand-held camera technique as THE BLAIR WITCH PROJECT, CLOVERFIELD immediately places you directly in the action and terror with no knowledge or warning, which is quite disorienting. Presented as "footage" found after a monster attacks and destroys New York City, a camera is found in what was formerly known as Central Park. Imagine GODZILLA meets the THE BLAIR WITCH PROJECT, and you get this film. And it's an amazingly visceral experience. As unbelievable as the scenario is, what you're seeing does seem quite realistic It's also completely un-conventional. If you're the annoying type of movie-goer who demands tons of details, a happy, tidy ending, and a hip soundtrack full of popular songs that have nothing whatsoever to do with the movie- then CLOVERFIELD might not be for you. As with the whole "hand-held" thing going in, people are either going to love it or hate it anyway.
But to me, it's a brilliant premise and presentation, and there are many prime examples. For one, like THE BIRDS, the film has no score. It has a disquieting and eerie effect. After a misleading and relaxing start, the viewer, along with the characters, are suddenly thrust into a terrifying and unpredicable situation. And not knowing anything about what's going on, we feel as if we're really there with the characters. After the city "earthquake" that starts the frenzied monster attacks on the city, I sat there with a tummy full of butterflies, absolutely glued to the screen. The movie is scary, suspenseful, and thoroughly entertaining. Overall, there is just not a dull moment to be found anywhere in CLOVERFIELD.
And it's certainly not your typical cookie cutter, Hollywood film. J.J. Abrams (LOST) delivers a monster movie that dares to be different, and it thoroughly succeeds. This movie is meant to be watched more than once, too. I notice something new everytime I see it. The special effects are some of the most seamless and realistic I've ever seen in a movie, and I like that the monster itself is never shown in its entirety. We get glimpses, quick cuts, and far away shots- and are left to piece together the full monster. I find this movie to be an excellent piece of filmmaking, and a hell of a lot of fun. Monster movies seem to be back with a vengeance, and that's a great thing in my book. CLOVERFIELD, along with THE DESCENT and THE MIST are great examples of the genre. Monstrously fun!
Eccentric and abrasive Las Vegas reporter Carl Kolchak stumbles upon the story of his life as a series of ghastly murders rock the city. It seems a modern-day vampire is preying on young women, and from the startling discovery of a dead girl's body stuffed into a garbage can in the opening scene, "Kolchak: The Night Stalker" enthralled and terrified audiences as it aired on January 11, of 1972. Legendary Dan Curtis, of "Dark Shadows" fame, produced one of TV's best and most-loved movies, and a memorable slice of 70's horror. Darren McGavin is fantastic as the impulsive Kolchak- it's arguably one of the most memorable performances of the decade. It's almost hard to believe it back then, but ABC's Movie Of the Week was a big deal- and hands down tops of all TV-movies. And during that time, some of the greatest TV shockers of all time aired- "Don't Be Afraid Of the Dark", "Trilogy Of Terror", and of course, "Kolchak". "The Night Stalker" offers just the right amount of creepy atmosphere and scary moments. The movie was so popular, a sequel, "Kolchak: The Night Strangler" followed, then a weekly series followed that.
Based on science and folklore with a dash of supernatural thrown in, "Kolchak" was a ratings smash. Since it was produced by Dan Curtis, you can see traces of "Dark Shadows" here and there throughout "The Night Stalker". (And yes, I love "Dark Shadows"...). You can also see how influential "Kolchak" would be in the future with "The X-Files". This is a great vampire flick with a witty and atmospheric script by the great Richard Matheson. Crackling with tension and paranoia, "The Night Stalker" is great stuff. They certainly don't make movies like this anymore. But thanks to Netflix and DVD's, they can still be enjoyed today. Often cited as the best TV movie of all time, the original and refreshing story of a modern-day Dracula terrorizing Las Vegas is a groovy, scary time capsule of the funky and weird 70's. I recommend a "Kolchak" double feature and watch back-to-back with "The Night Strangler".
Since "The Night Stalker" was such a huge success, ABC commissioned Richard Matheson to produce a follow-up. Airing January 16 in 1973 and featuring a story about a serial killer stalking underground Seattle this time, "The Night Strangler" found lovable Carl Kolchak investigating a murderer who not only strangles his victims, but then with a syringe removes a tiny bit of blood. Seems our Kolchak has left Vegas in disgust over the corrupt officials, and gets a job at the Daily Chronicle in Seattle. Yes, folks, Kolchak is back, and soon stumbles across another wave of mysterious murders. Even though it follows basically the same plot as the original, what helps the sequel this time around is an interesting and clever backstory to the killer- he's not a vampire this time, but more of a mad scientist, with something about experiments to extend human life with elixirs made of human blood. "The Night Strangler" also incorporates more humor into the scary moments this time around, but overall it's a strong and well-made sequel. The creepy underground Seattle is truly a fantastic location- spooky stuff, to be sure. The characters seem to be a bit more fleshed out this time around, and of course, how can you go wrong with Darren McGavin's performance in the first place? He was simply born to play this role. All in all a good, solid sequel that holds its own against the original. Supremely entertaining and fun!
HOME FOR THE HOLIDAYS is a wonderfully spooky and effective 1972 teleslasher that concerns four sisters (Sally Field, Jessica Harper, Jill Haworth, and Eleanor Parker!) returning to their family home to visit their dying father for the holidays. Seems dear Dad has asked them all to come home and kill his new wife (played by the fabulous Julie Harris...), whom he suspects is trying to do the same to him. Really! Gathered at the Morgan family home on a stormy Christmas Eve, family secrets and skeletons are drug from the closet and true feelings come to the forefront. On top of all this family drama- which almost ventures into high soap territory here and there- this is an Aaron Spelling production, you know- there happens to be a pitchfork-wielding psychopath in a rain-soaked yellow slicker on a murderous rampage. And if all of that isn't enough, of course a raging storm has knocked the phone lines out and caused the roads to flood. After the first sister is found murdered, it would seem that somebody wants the four sisters dead. Supreme entertainment.
Written by Joesph Stefano, a man who just happens to have written a screenplay for a little film named PSYCHO, HOME FOR THE HOLIDAYS has all the classic horror movie elements- isolated farmhouse, storms, murderous motives, family drama, cut phone lines, washed out roads, chase scenes through the dark woods- you name it, it's here. It hums along nicely with many twists and turns.
Sally Field was actually wanted by Sean S. Cunningham for the original FRIDAY THE 13TH, and after watching this, it's easy to see why. The scenes in HOME FOR THE HOLIDAYS where Sally is chased through the woods by the killer is something straight out of an 80's slasher. This TV thriller creates a surprisingly early slasher atmosphere, which obviously inspired BLACK CHRISTMAS, which inspired HALLOWEEN... it's neat how that works, isn't it? It runs at about 78 minutes, which results in a pretty tight and suspenseful production. It's also simple and straightforward- which in my opinion can sometimes be the most effective. Like I said, the atmosphere in HOME FOR THE HOLIDAYS is one of the main ingredients here, second only to the fine acting ensemble involved. It's interesting that this production was so low-budget, they couldn't even afford snow for the exterior shots. Instead, they used a simple thunderstorm. Yet somehow it all works and the Christmastime atmosphere is amazing- it truly helps the film.
Sadly a relic of an era long gone- the great TV horror movies were all but extinct by 1990 or so. This is one of the best, by far. The killer is as scary as any slasher you would have seen in an 80's feature film. The cast is to die for, and it's a classy and suspenseful production all the way. Not to be confused with the same-named but hilarious HOME FOR THE HOLIDAYS with Holly Hunter and Robert Downey Jr.
