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Altered (2006)
7/10
Tight, Scary Alien Horror
1 April 2007
"It's bound to get ugly" --Cody in "Altered"

Eduardo Sanchez definitely proves that the promise he showed with the indy classic "Blair Witch" was no fluke. In fact, this is a better film than "Blair": with a bigger budget and the mans to provide the payoff to the graphic and suggestive scares, "Altered" is lean and savage entry int he Alien Horror genre. No stick figures and rock smashing in this one.

(Few Spoilers)

"Altered" starts in high-gear and doesn't relent. A trio of Good Old Boys, once abducted and tortured by nasty extraterrestrials, finally turn the table after 7 years, and nab one of the ETs. Out of their depth, and expecting imminent alien reprisals, they take refuge with the reluctant Wyatt (Adam Kaufman), who has some interesting connections to, and defenses against the interstellar hostiles. Of course, the captured alien has his own abilities and agenda...

I really enjoyed this movie, from the tight direction and scripting to the performances, especially Kaufman as a man still torn by grief over the death of a friend, and the inner suffering due to the physical and mental anguish suffered at the hands of the aliens. One of the really fine things about this film, is that Sanchez' ETs are truly vile and sadistic critters, and the make-up effects are assisted by some good editing/lighting to take full advantage of the monsters.

The best thing about the film, however, is the ensemble playing by the former abductees turned abductors: the sharp screenplay is good at showing you how wounded and embittered these guys are, and when the group dynamic starts to disintegrate, you feel the sense of loss and sorrow that still haunts these guys.

Psychological and physical horror abound: there is one "gut-check" of a gag-inducing tug-of-war between the heroes and the alien that will definitely have gore-hounds cheering, and there's a nasty alien bite infection that rates with a similar plot element in another horror sleeper, "Feast." Still, the violence and gore is abetted by tense talking-heads stuff that never slows the story down and the movie has the odd riveting image here and there: the graceful ascent of a jellyfish-like spaceship against the full moon; the "clicker" alien prey tagging devices are a clever touch.

There may have been a few too many 'Dad-Gummits" and F____, but these are quibbles. This is tight, good, scary fun. Anyhow, you got to love a film where a mortally wounded secondary character waves off the offer of aid with a terse< "Just give me a beer!" I can't wait for Sanchez' next film.
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Truly Thought-Provoking, Frightening Stuff...
31 March 2007
I remember seeing this movie as a kid in Compton on my small black and white TV. The eerie holographic image of the Martian Devil's Head floating over the wreckage of London stayed in my mind, and led to more than a few nightmares. Still, I can't deny this film's pull after the decades, and it is a Guilty Pleasure that I often pull from the DVD cabinet. And no, I'm not a Quatermass Fan.

Even today, despite the film's fair degree of dating, I am impressed and staggered by the conceptual genius of Nigel Kneale's script, and Roy Ward Baker's ability to mesh sci-fi and "Spiritual Evil" (as a disturbed Parson notes) in a product that is well removed from the standard Hammer fare. There is a real subversive pull to this little film, which piles on concepts such as Race Memory, Evolution, Conformity, Alien Colonization, Belief in "The Devil" and the occult, Ethnic Cleansing, Human Supremacy, and the arrogance, stupidity and mendacity of politicians and the military. On some level, it's hard not to be awed by the film's ambitions..

(****SOME PLOT SPOILERS BELOW****)

The plot: progress on The Hobb's End Underground Transport comes to a halt when the subway workers unearth what appear to be primitive apelike skeletons and a mysterious "craft" which is initially believed to be an unexploded bomb left over from The War. Professor Bernard Quatermass (Andrew Keir), at odds with the government over the planned military use of his "rocket group" investigates, with the assistance of two paleontologists, Dr. Mathew Roney (James Donald), and Dr. Barbara Judd (Barbara Shelley). Disturbed and intrigued that the skeletons were found IN the ship and appear to date nearly 5 millions years, and that the largely vacated Hobb's End Lane area has been a site for of "demoniac activity," for centuries.

Given the film's rather meager resources, it is hard not be impressed by the story, acting, and general mood of growing apocalyptic. In the usual Hammer film, the nemesis is clearly the supernatural: in these movies, we fear violent death at the hands of vampires, werewolves, ghouls, etc. The horror on hand in this movie, which doesn't show itself in all its preening glory until the end, is far more insidious and devastating. The Evil that threatens human civilization itself, questions our Evolution, Intellect, and Spiritual Beliefs. Because The Evil in Quatermass is, in essence, Dead from the get-go, it can't be easily faced, conquered, disputed with and laid to rest. The evil is, in fact, rooted firmly in the collective Mind of Man, and given the right "trigger", is able to manifest itself on a staggering, all-encompassing level. It shows itself in small clues: the scratches on the walls in the houses on Hobb's Lane, old local newspaper pieces and local history tomes, skulls, pentagrams on spaceship hulls, etc.: but when it finally does arrive, it upends Mankind's very identity, and the damage that is done, doesn't look like it can be repaired or explained away. Even when the "Pit's" alien ghosts are defeated, the victory seems pretty hollow.

Keir, whom I remember from such films as "Fall of The Roman Empire," and "Dracula Has Risen From The Grave", plays his role with gruff conviction ("I never had a career, I just had work!" He grouses to his unwanted colleague Colonel Breen), and I have always liked the amiable Donald, who was terrific as the most sane character in one of my favorite movies, "Bridge on The River Kwai.". The two are well-matched by the excellent Barbara Shelley, who brings a fair degree of wild sensuality to her role when she's possessed by an alien race memory. Still, I have to give some major plaudits to Glover, whose character is such a smug and supercilious ass, that it's fitting when you do see him kneel in lethal supplication to The Truth he has been dismissing throughout the movie. The occasional moments of dry as well as bumptious British humor are truly appreciated, offering occasional respite from the overall sense of rising darkness.

Many have pointed out that "Quatermass and The Pit", in its theme of alien intervention in human evolution is the dark flip-side to "2001," and that is certainly true. I also saw echoes of this film in Tobe Hooper's Lifeforce (1985), especially in the climactic scenes of London's devastation at the hands of its "space vampires.". You could also throw in Stephen King's novel, "The Tommyknockers". Even so, I was and still am, spellbound by the movie's novelty, its thought-intriguing meld of science-fiction and horror, the juxtaposition of skulls and sleek extraterrestrial metal, the Martian spaceship standing in quite nicely for the proverbial Haunted House. The movie does have its share of gaffes: the "alien locust" carcasses should have been seen as little as possible, and a scene where a soldier goes bonkers after seeing an "apparition of a small, hideous dwarf" inside the ship, lacks the timing to pull it off.

Still, given its execution and drive, the movie's coda of Keir and Shelley leaning wearily against the rubble of London as the city burns in the background, nicely sums up what horror films should be about: Things Are Not Okay, and may never be Okay anytime in the near future.
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Inferno (1980)
10/10
Argento Turns Horror Into Alchemized Gold
24 March 2007
With its night world of ill-famed alchemists, evil witches and doomed artists, "Inferno" is alchemical gold and a superior follow-up to its predecessor, 1977's Suspiria.

Rose Elliot (Irene Miracle), is a poet living in an eccentric New York brownstone. Reading a tome called "The Three Mothers" by an alchemist named Varelli, she learns that her home is one of the three houses that Varelli built to contain The Three Mothers of Whsipers, Tears and Darkness, diabolical sorceresses who rule the world with Sorrow, Tears and Darkness. Mater Suspiriorum (The eldest) rules in Freiburg, Germany; Mater Lachrymarum (The most beautiful) dominates Rome, while Mater Tenebrarum (The youngest and cruelest)resides in Rose's house. Alarmed by a discovery in the building's cellar, Rose writes to her brother Mark (Leigh McCloskey), a music student in Rome. When Mark travels to new York, concerned for his sister's safety after an interrupted phone call, he finds finds that she has vanished.

The brief outline above, in no way conveys the cumulative effect of its non-linear brand of scare-show (Argento took as his inspiration Alain Resnais' 1961 film "Last Year at Marienbad", as well as Thomas De Quincey's piece, "Levanna and Our Ladies of Sorrow). Even more nonsensical in terms of plot logic than "Suspiria", "Inferno" succeeds because it does not make an attempt to make sense. Like the mysterious world of alchemy creeping at the edges of the plot "Inferno" implies that its onslaught of mythic horrors are an inexplicable, unknowable phenomenon outside of human comprehension. After all, if you reveal a magic trick, it ceases to be magic, right? "inferno" is full of doomed Seekers of The Truth who stumble upon the fringes of a horrible mystery that they will never unravel, and will never understand the reasons behind their violent ends.

There are times, watching this movie that I feel the kind of aesthetic free-association disconnect I feel when I have read a short story by Julio Cortazar, or listened to a System of A Down song. Like a piece of medieval poetry, the film decants its imagery like dense and repetitive stanzas: water, fire, taloned hands, shattering glass, cats, moon, bloodied palms and finger-tips, etc.

(spoilers below/beware)

There are two scenes in particular that stand out: Sara, Mark's girlfriend, takes refuge with an acquaintance, Carlo, after having read Rose's letter and gone to the local library in search of the book. She puts on a recording of Verdi's "Wa Pensiaro", and looks up at the full moon. While she makes a phone call to Mark, Argento quick-cuts a series of seemingly unrelated, disturbing images: a killer's black-gloved hand cutting paper doll heads off with a pair of scissors/a lizard eating a moth/a woman (we never know who she is) thrashing in death-agony at the end of a rope/back to the black-gloved killer's scissors-wielding hand.

The second sequence is Mark's total seduction (yes, I would definitely use that word even though the "seduction" is chaste and mental) in music class by a beautiful, cat-toting teenage girl. The girl, who we infer to be Mater Lachrymarum, distracts Mark from reading Rose's plea for help. This set-piece, in which very little happens, is amazing: Argento cuts back and forth between Mark and The Girl (Ana Pieroni) as Verdi's "Va Pensiaro" booms from the room's speakers. The girl's plush lips mouth something at Mark as he fights some inner fatigue; then the window blows open as some unseen force glides above the students' heads.

There's no doubt that people who want their horrors presented with the cookie-cutter predictability of most Western products, will probably have little truck with Argento's quiet, elegant fears. That said, it's hard to envision any horror buff not liking the terrific, startling payoff to a minor villain's demise, attacked by rats as he's trying to drown cats in Central Park. What makes the scene is the combination of Argento's editing and Keith Emerson's soundtrack.

Mention should be made of Keith Emerson's (of Emerson, Lake and Palmer fame)score. Whereas "Suspiria"'s Goblin soundtrack was an all-out aural assault, Emerson provides a lot of dark key tinkling with horns and the occasional choral blast. As Argento has turned down the sound, the movie's look, while using the same color palette as 'Suspiria" isn't as brash and hyper-saturated.

A couple of side-notes: "Inferno" was the last movie that Italian horror maestro Mario Bava worked on, albeit in a special effects capacity. His contributions included Mater Tenebrarum's sunken lair and the Mater's transformation near the climax. Feodor Chiaplin, who plays Varelli, played Cher's grandfather in 'Moonstruck" and one of the monks in "Name of The Rose." In a film as artificial and stylized as this, it is really hard to truly discuss the performances. Irene Miracle (of "Midnight Express" fame) is a beautiful, ethereal innocent. Leigh McCloskey has been criticized for giving a wan acting job, but I thought he was perfectly cast as a man who never comprehends the forces arrayed against him. Daria Nicolodi as Mark's doomed ally, brought a degree of warmth and likability to her role as the ailing Countess: a quality that's pretty much missing from most of Argento's movies. Sacha Pitoeff as the cat hating book-seller Kazanian was a memorable creep.

If you have not been exposed to Argento's works, you might be cheered to know that "Inferno" stands on its own: you certainly don't have to have seen "Suspiria" to enjoy the second chapter of what is undoubtedly a trilogy that will never be finished. "Suspiria" came out in 1977, and "Inferno," 1980. A projected third film, scripted with Nicoldi, to have originally featured a teenage Jennifer Connelly who starred in Argento's "Phenomena"), has pretty much languished in development. Argento has, with a few exceptions, stayed firmly in the Gialli genre.

Given the chances of him making that film, Argento fans and neophytes will undoubtedly adopt Mater Lachrymarum for their muse.
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Session 9 (2001)
7/10
Plenty of Deep-Dish Dread in "Session 9"
24 March 2007
Bare-bones plot: a HAZ MAT team gets a contract to decontaminate Danvers Mental Hospital, a defunct asylum that was shut down in the 80s due to scandalous treatment improprieties. With a juicy bonus as the carrot for bringing the job in ahead of schedule, the asbestos removal team finds itself laid siege to by the sprawling institute's rancid, psychic residue, as well as the internal resentments and discord that grow with each day. The team includes the group's Scottish boss, Gordon (Peter Mullan), the foreman, Phil (David Caruso), Mike (Stephen Gevedon, the film's co-writer), Hank (Josh Lucas), and Jeff (Brendon Sexton III), Gordon's nephew.

I thought this was a superior horror film, for three-quarters of its running time.

I believe the movie scores best when it concentrates on creating an atmosphere of comprehensive, smothering dread. It is less a Horror Movie than a Dread Movie: every festering duct and basement in Danvers (the juxtaposition of real and imagined poisons is on the spot) seems to be poised for the arrival of some Impending Awful Event. When the mystery is solved, it seems a tad perfunctory and less disturbing than the build-up that came before.

(Comments below may contain some spoilers or semi-spoilers)

Still, the director, Brad Aderson, really ladled on a lot of deep-dish, disturbing atmosphere. Danvers Hospital is such a great setting. The simple shots of a disquieting collage of photos on a wall with the captions, "No one will leave feeling neutral, " and "Some Day it's going to dawn on you" are far scarier than a slasher with a knife. The movie was drizzled with a sense of claustrophobic doom: characters fleeing down the hospital corridors as the lights go out behind them; the constant oppressive rumble of generators; the slow leak of coins and last effects from a hole in a wall. Like past cinematic houses of the damned in The Shining, The Haunting, Suspiria or any Roger Corman Poe film, the place is The Monster, and a great one at that: with its decaying tunnels, basements, kitchens, wards, and 'treatment" accessories, it's a vivid, nightmarish piece of turf, a perfect stomping ground for demons of the mind.

Peter Mullan gave a terrific performance as the team's troubled Gael boss: his ability to communicate his character's mental distress with a mere cock of his head or the way he rubs his eyes and distractedly nods at some half-heard query, conveys the workings of his trammeled mind. As Phil, Gordon's best friend and foreman, David Caruso was just as fine as Mullan: you feel a sense that, given his personal life, the team's unity is the only thing keeping him going, and watching Caruso's working-class brio ("I'm here for you Gordon")turn to paranoid task-mastering and desperation is great. Josh Lucas as the cynical wiseacre picking at Phil's particular Achilles heel was also very good. On the technical side, Uta Brieswitz' lensing really captures the dark nuances of the hospital's vast and creepy space, and the music, mostly brittle keyboards, is a definite assist.

(Possible Spoiler Below)

The movie keeps you guessing as to whether the chief culprit on hand is a diseased mind or some sort of demoniac infestation and the clues that are provided by the cache of "Session 9" tapes Mike has discovered, provide plenty of ambivalent grist. Those conversations, between a patient named 'Mary", and her doctor, are squirm inducing in the extreme and had me looking over my shoulder when I previewed this at 2:00am in the morning. My own theory is that, in this case, like Takashi Miike's MPD Psycho, the villain is a demon/parasite; however, the film has you asking questions long after the credits crawl.

Even if the movie's unmasking of The Minotaur is not as frightening as it could have been, it sure serves up one hell of a labyrinth.

I will admit that I wish the filmmakers had used the hydro-therapy Tub, and some of those nasty-looking chairs.
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