Movies – Zachary Mule

THE MAGIC REINDEER: SAVING SANTA’S SLEIGH

(KALEIDOSCOPE HOME ENTERTAINMENT/ANIMA VITAE/CINEMAKER/ULYSSES FILMS/MOETION FILMS (85 minutes; Rated G); 2024)

THE MAGIC REINDEER: SAVING SANTA’S SLEIGH is a festive, feel-good adventure that adds fresh energy to holiday storytelling. Niko, voiced charmingly by Pauli Halonen, is a young reindeer bursting with ambition and warmth. Halonen’s voice performance brings an endearing sincerity to Niko, who dreams of joining Santa’s elite Flying Forces like his father. Yet, the holiday season isn’t without surprises: When the spirited Stella arrives, Niko faces unexpected competition that pushes him to new limits.

THE MAGIC REINDEER: SAVING SANTA’S SLEIGH (screenshot)

What makes this film stand out is the depth of its wintery world and the vivid sense of holiday magic it conjures. The filmmakers have crafted a setting that’s both enchanting and rugged—a snow-covered North teeming with icy landscapes, cozy cabins, and hidden challenges. Every scene feels like a winter wonderland, adding a magical atmosphere that young audiences will find captivating.

The real twist, however, comes when Santa’s sleigh is stolen – a high-stakes moment that catapults Niko and his friends into a daring, fast-paced journey. The film balances humor and suspense expertly; scenes where Niko and his friends dodge ice caves and snowstorms are exciting, yet there’s a heartwarming undercurrent of friendship and teamwork.

THE MAGIC REINDEER: SAVING SANTA’S SLEIGH also delves into some heartfelt messages that resonate beyond holiday cheer. Through Niko’s journey, kids and adults alike are reminded of the value of resilience and how, sometimes, the biggest dreams require us to face unexpected challenges. The dynamic between Niko and Stella is particularly refreshing, showing a friendly rivalry that ultimately leads to mutual respect and collaboration.

With vibrant animation, a fun soundtrack, and themes that go beyond typical holiday fare, THE MAGIC REINDEER: SAVING SANTA’S SLEIGHh delivers a memorable adventure wrapped in holiday warmth. It’s a Christmas classic in the making, perfect for families looking for a tale that’s equal parts exciting and heartwarming.

DWIGHT FRYE’S LAST LAUGH

(GREGORY WILLIAM MANK, JAMES T COUGHLIN, DWIGHT D FRYE; 320 pages; LUMINARY PRESS/MIDNIGHT MARQUEE PRESS; 1997)

I grew up watching (and loving) the Universal Monsters movies; a very vivid memory was seeing ABBOTT AND COSTELLO MEETS FRANKENSTEIN (sort of a 1948 Monsters-adjacent free-for-all with Bela Lugosi, Lon Chaney Junior and Glenn Strange co-starring with Bud and Lou) on a Saturday afternoon. It wasn’t such a big leap to THE WOLFMAN, THE MUMMY, THE INVISIBLE MAN and the dynamic duo that launched Universal’s monster franchise, DRACULA and FRANKENSTEIN. Then, of course, there were the numerous sequels. Many of those films featured a manic young man named Dwight Frye; I was fascinated by Dwight’s characters and he became an instant favorite. Why? Was it the four-note laugh that his DRACULA character, Renfield, used to chill the marrow? Was it the fact that my favorite band, Alice Cooper, featured a six-and-a-half minute tune on their third album, LOVE IT TO DEATH, called “Ballad of Dwight Fry?” (Fry, by the way, was Dwight Frye’s real name… the “e” was added by Dwight early in his acting career to give it a more continental, distinguished flair.) Whatever the reason, Dwight Frye became “The Man” for me, at least as far as horror movies were concerned. I didn’t know anything about the man himself and found that there wasn’t really a lot of information out there about him (this was the pre-internet, “dinosaurs-still-roamed-the-Earth” late 1960s and early 1970s). The fascination waned, as it is wont to do, and I moved on to other things. Oh, I still watched DRACULA, FRANKENSTEIN and the rest any chance I got and Dwight’s Renfield and Fritz were still fun to watch. It wasn’t until the late 1990s that I heard about a book co-written by Dwight’s son, Dwight David, that my interest was once again piqued. And so, I started haunting (pun fully intended) various book stores and other venues for a copy… with no luck! It wasn’t until very recently that – after watching DRACULA for, maybe, the millionth time that I renewed my quest to acquire DWIGHT FRYE’S LAST LAUGH. Things have become so much easier now, with search engines like Google and a website called ThriftBooks to find those hard to find items. So, now, thanks to that very same ThriftBooks, I have my very own copy of DWIGHT FRYE’S LAST LAUGH. Was it worth the wait, the time and trouble to hunt down? Absolutely!

DWIGHT FRYE’S LAST LAUGH (DRACULA, 1931: Helen Chandler, Bela Lugosi, Dwight Frye) (UNIVERSAL STUDIOS promotional photo)

To call the book exhaustive is sorta like saying that there’s some water in the Pacific Ocean. The second book review I ever wrote was a critique of Fred Kaplan’s THE SINGULAR MARK TWAIN, a 655 page biography with an additional 70 pages of notes and explanations of the main body of work. I was not a fan! The same cannot be said of DWIGHT FRYE’S LAST LAUGH; it is filled with minutia, but it’s presented in such a way that you really don’t mind. The biography portion of the book ends with Chapter 10 (even though Frye dies in Chapter 8). Those eight chapters are chock full of minutia regarding Dwight’s early life, his stage career – from stock productions in Denver, Spokane, Seattle and Pittsfield, among other towns and cities with theaters (the most common form of entertainment in the 1910s and ‘20s, just about every small city or medium-sized town had one) to his successes on Broadway – where he met Laura (using the stage name Laurette) Bullivant, whom he would marry. Chapter Five, titled “Dreams To Nightmares: The Horror Classics of 1931,” begins the chronicle of Frye’s career in the relatively new film industry and his eventual downfall. As Renfield in DRACULA and Fritz in FRANKENSTEIN, his over-the-top, rather psychotic performances led to Dwight being typecast as lunatics, with hunchbacks and wild eyes. Soon, he found himself relegated to bit parts (often uncredited) in a variety of B movies of varying quality. No matter how small the role, Dwight threw himself into the character as if his part was the most important. FRANKENSTEIN director James Whale was so taken with his portrayal of the sadistic, hunchbacked dwarf, Fritz, that in later years, he reached out to Frye, offering him roles in nearly every movie he worked on throughout the actor’s lean years in the ‘30s and ‘40s up to Dwight’s death in 1943; For THE BRIDE OF FRANKENSTEIN, Whale famously combined three separate roles into one for his to-to ghoul; the actor delivered a tour-de-force performance as Karl, another in a string of hunchback dwarfs.

DWIGHT FRYE’S LAST LAUGH (THE MALTESE FALCON, 1931: Dudley Digges, Ricardo Cortez, Dwight Frye) (WARNER BROTHERS STUDIOS promotional photo)

Between DRACULA and FRANKENSTEIN, Dwight portrayed Wilmer Cook in the first film version of THE MALTESE FALCON, a grittier, pre-Code offering that wasn’t as pretty as the 1941 version with Humphrey Bogart; when Warner Brothers tried to re-release the flick in 1935, the request was denied by the office of the Motion Picture Production Code for “lewd content.” It may have been Dwight’s last big role in which he wasn’t typecast as some sort of twisted, maniacal, deviant toady for whatever the Monster-du-jour was for a particular film (the vampire, Count Dracula, or the man-who-would-be -God, Henry Frankenstein). DWIGHT FRYE’S LAST LAUGH mentions numerous occasions where the studio would severely edit or completely cut the actor’s performances. As he struggled to provide for his family, he took on any role offered, no matter how small (or how ludicrous). Dwight Frye was the consummate actor, but first and foremost, he was the consummate family man.

DWIGHT FRYE’S LAST LAUGH (THE VAMPIRE BAT, 1933: Dwight Frye, Maude Eburne) (MAJESTIC STUDIOS promotional photo)

By the fall of 1943, Dwight Frye had been working an overnight shift at Douglas Aircraft (it was his way of contributing to the war effort, as he was too old to serve) for a year or more, looking for movie roles during the day. He had heard about a new movie being produced by 20th Century-Fox called WILSON, a biography of President Woodrow Wilson. With the help of a friend at the studio, he tested for and was given a fairly important, meaty role in the film, Secretary of War Newton D Baker. To celebrate the part, Dwight took Laura and their son, Dwight David, to a double feature. After the movie, the family caught a bus; before the bus even pulled away from the curb, the actor had collapsed in the aisle. He died about an hour later, at 11:15, of coronary thrombosis.

DWIGHT FRYE’S LAST LAUGH (THE BRIDE OF FRANKENSTEIN, 1935: Dwight Frye, Valerie Hobson) (UNIVERSAL STUDIOS promotional photo)

Chapter 9, titled “Milestones,” highlights turning points (mostly deaths) in the lives of the people in the life of Dwight Iliff Frye, everyone from Tod Browning to Bela Lugosi, Lionel Atwill and James Whale to Boris Karloff. “Immortality” called in Chapter 10, as the authors recount the efforts of – not only Dwight’s son, Buddy (his father’s nickname for Dwight David) – but leading members of fandom like Warren Publishing’s James Warren and Forrest J Ackerman, publisher and editor, respectively, of FAMOUS MONSTERS OF FILMLAND (as well as the comic magazines CREEPY, EERIE and VAMPIRELLA), who invited Dwight David, Sara Karloff (Boris’ daughter), Ron Chaney (grandson of Lon Chaney Junior) and Bela Lugosi Junior as guests of honor to the 1993 Famous Monsters Convention. The chapter ends with the death of Dwight David Frye on March 27, 2003. Until that time, he worked tirelessly to keep the memory of his father alive to new generations of fans.

DWIGHT FRYE’S LAST LAUGH (Laura Bullivant Frye, Dwight David Frye, Dwight Frye) (family photo, 1933)

The actual biography of Dwight Frye – including a lot of great pictures and a couple of pages of notes – ends on page 202. The remainder of the book’s 320 pages features four appendices listing all of Dwight’s acting credits (“Filmography,” 60 pages with production information, cast and notes regarding Frye’s work; “Early Theatre Work: Stock, Vaudeville, Repetory,” 20 pages with much of the same information as Appendix A; “Broadway Plays,” 20 pages of his work there; “Regional Theatre,” 8 pages, including his last role, reprising Renfield in a stage production of DRACULA) and more photos. A bibliography and biographies of the authors make up the last few pages.

LITERARY LICENSE... REVOKED! Movies Non-Fiction Book Reviews | Darren Tracy | November 13, 2024 | Actor Bela Lugosi Biography Boris Karloff Classic Movie Dracula Dwight David Frye Dwight Frye DWIGHT FRYE'S LAST LAUGH Frankenstein Gangster Movie Horror Movies James Whale Laura Bullivant Frye Lionel Atwill Monster Movie THE BRIDE OF FRANKENSTEIN THE MALTESE FALCON Tod Browning Universal Monsters Universal Studios

ENO

(FILM FIRST COMPANY/TIGERLILY PRODUCTIONS (85 minutes; Unrated); 2024)

It was absolutely NOT a predictable thing that Brian Eno would ever agree to having a documentary film made about him; he’s on record as stating that he hates most musician biopics, and he has little interest in discussing or examining his own past. But when director Gary Hustwit approached the wunderkind artist/producer/lecturer/thinker/modern philosopher about a project in this realm, it was NOT the ordinary pitch. Hustwit had already worked with Eno on his previous film RAMS, a documentary about influential German designer Dieter Rams, for which Eno did the score. Hustwit had already been working on ideas for a “generative” approach to filmmaking, a way for film to NOT always be the same when watched. In the pamphlet handed out for his film about Eno, very useful in understanding the project, he says this: “When everything went digital, both filmmaking and exhibition, this constraint of a film having to be the same every time or having to be a fixed piece of art was gone. So I reached out to my friend Brendan Dawes, this amazing digital artist and creator who I’d known for 15 years. And he was game to try… First we started experimenting using all the raw footage from RAMS, including Brian’s music. We both realized that Brian would be the perfect subject for a generative documentary and ended up showing Brian a demo using the RAMS footage. He was excited to get involved. I don’t think he was excited about having a documentary about himself, but I think he was excited about the possibilities around the generative film system.”

It goes without saying that there was going to be tons and tons of potentially interesting footage of Eno’s artistic odyssey from which Hustwit could draw to make his experimental doc. You’re talking about the guy who was a founding member of glam rock pioneers Roxy Music, the groundbreaking artist who made crazily inventive albums like HERE COME THE WARM JETS and ANOTHER GREEN WORLD in the mid ‘70s, the man who gave a name to and contextualized the fresh new genre called ambient music, the groundbreaking producer who put his name on some of the most important albums to emerge in the ‘70s and ‘80s by artists like Talking Heads, David Bowie, U2, James, Coldplay and many more; the guy who began creating unprecedented changing light sculptures and exhibitions throughout the world, and a truly visionary creative “philosopher” and thinker who raised many significant questions about the purpose of art, and the complex nature of the world’s problems, and how we should try to think about solving them. Brian Eno is easily one of the most influential artists in music history, and has had a hand in more things than most people might realize. Did you know, for example, that his collaboration with David Byrne, MY LIFE IN THE BUSH OF GHOSTS, was one of the first records to use sampling, and that it influenced many early hip hop artists? That he composed the Microsoft Windows startup theme in the early days of the internet? And that despite the early scorn that some critics heaped on ambient music back in the ‘70s, the genre became a truly significant phenomenon by the late ‘90s, and exploded into new relevance during the pandemic. It is now inescapable throughout the world, and is closely married to the world of film scoring, giving Eno regular work in that realm with projects such as FOR ALL MANKIND, THE LOVELY BONES and Michael Mann’s HEAT. So it would be a daunting task for ANY filmmaker to put a doc together on Mister Eno. But it sure helped that Eno gave Hustwit hundreds of hours of rare, often never before seen footage to utilize and that the generative program he developed was able to ensure that no showing of the “final” film would be the same as any other showing. Weird and unprecedented, eh?

ENO (BRIAN ENO) (photo credit: CECILY ENO)

Screenings of ENO have sold out in most cities where it is shown, and I wondered if I would ever have the opportunity to experience it. But when the Speed Art Museum in Louisville announced a single screening of the movie, my chance arrived. And wow, was it a fascinating, often breathtaking event! Each version of the film is set up with little technological “triggers” that cause certain other sequences to come up next, without filmmaker or audiences knowing what that will be. The film itself contains these transitional “indicators” that let the viewer know a change is about to happen. So yes, you might get some special footage of the early days of Roxy Music, like I saw in MY version of the film, with the glammed-up Roxy boys singing “Virginia Plain” and showing what absolute originals they were. But you might NOT. And even if you are thrilled to see the footage, it’s gonna end before you’ve had your fill, probably. Up next? Will it be Eno’s early video for “Seven Deadly Finns?” Something featuring Laurie Anderson? A discussion of “Oblique Strategies” and how Eno used them to work with David Bowie on his “Berlin Trilogy?” YES, to those latter two things for the version I saw. We get to learn all about the formation of the specialized deck of cards intended to help break creative stalemates. Eno talks about how he and Bowie drew conceptually opposing cards when they were recording the track “Moss Garden” on HEROES. Wryly, we see David Byrne reading a couple of simple cards, and Byrne is featured prominently in a discussion of MY LIFE IN THE BUSH OF GHOSTS. Not much about Talking Heads, however, which was disappointing. But there is a lengthy and amusing segment on U2 and some of the tension that had to be worked through during the production of THE UNFORGETTABLE FIRE, and in particular the song MLK.

I was perhaps most delighted by the amount of talking we get to experience Eno doing, such as his discussion of “why we like music” and how ultimately most humans are driven by “the need to feel you belong.” And about how he tended to always question his own habits, asking the enduring question, “What if we DON’T do it that way?” That ends up having relevance not only for music, but for complicated moral and technological issues as well. My version of the film featured a lot of footage of Eno in his garden, talking about the influence of the natural world on his music, and how what became known as “ambient” was the result of Eno wanting to create a “place” and “inhabitants” and changing movement in his sonic creations. He demonstrates some sound-building efforts in his studio, and I was riveted by these scenes. “I want a sky,” he says of one evolving composition. “What ELSE do I want in this world?” He discusses his enduring interest in “more and more complex and beautiful things,” and shows us his plethora of detailed notebooks that he’s been keeping for decades, to help organize and capture “new ways of explaining things.” And frequently there are memorable scenes such as when the legendary producer admits to breaking down in tears during the creation of the track “Spirits Drifting,” as it came about during a terrible period of insecurity when he was certain he was wasting money on expensive studio time and did NOT have (seemingly) the ideas or impetus to get anything finished.

Wow, that happened to ENO? The guy who has finished more groundbreaking projects and fresh ideas than arguably anyone else in the industry, over time? So, there are indeed some cool revelations like that as well as plenty of music, discussions about art and the problem of being a morally concerned citizen of Planet Earth. We have some options for making things better, Eno says, but we also may just screw it up in the end. My piece here summarizes what I got to experience at this particular screening, but if you are lucky enough to see the film somewhere at some time, you may catch completely different segments. At any rate, for any fan of the truly legendary Eno, this film is a must-see. No, it is likely NOT going to be a comprehensive overview of his whole career, and as my companion pointed out, some may be bothered by the lack of narrative consistency or “arc” in this experimental movie. But boy, I ate it up. And I can hardly wait to see a bunch more versions of the film, should I get that chance.

DO THE ARCHITECTURAL WATUSI HEY, MA! WATCH THIS Movies | Kevin Renick | October 23, 2024 | Ambient Music Brian Eno David Bowie David Byrne Dieter Rams Documentary Experimental Filmmaking Experimental Music Gary Hustwit Generative Movies Louisville Kentucky Movies Music Documentary Rock and Roll Roxy Music Soundtrack Music Speed Art Museum Talking Heads U2

CHILDREN OF THE PINES

(TOPBOX PRODUCTIONS/DAME MEDIA/MIDNIGHT JUSTICE FILMS/FREESTYLE DIGITAL MEDIA (92 minutes; Unrated); 2024)

If a title like CHILDREN OF THE PINES makes you anticipate a horror film about cherubic baddies along the lines of CHILDREN OF THE CORN or CHILDREN OF THE DAMNED, well, that’s understandable. Any cinematic outing that focuses on “Children of, well anywhere or ANYTHING,” is bound to be a less than wholesome look at youngsters that are probably up to no good. But writer/director Joshua Morgan’s nifty little thriller has far more substance than your average horror film, and while it DOES have some horror in it for sure, it’s more properly termed a “dark melodrama” than a straight horror film. And in both its pacing and the deliberate way its script unfolds, this is one cleverly made and genuinely unsettling little film. It kept me very interested, despite my initial low expectations, and that’s saying something.

CHILDREN OF THE PINES (DAVID RAIZOR, DONNA RAE ALLEN) (screenshot)

College girl Riley (Kelly Tappan) has been through some troubling issues with her parents Kathy (Danielle J. Bowman) and John (Richard Cohn-Lee), and is less than enthusiastic about visiting them on a winter break at their home in an unnamed mountain town. In a curious bit of voiceover narration, she tells us “Sadness will only ground you, in ways that happiness can only dream of doing.” Nicely open-ended, that. We quickly learn that the parents have a few secrets, one of which is that they’ve provided employment for Riley’s ex, Gordon (Vas Provatakis). That’s annoying enough for our heroine, who is trying to maintain cordial relations with her former beau. But when it becomes clear that the folks have called upon the services of a cult-like organization that uses, shall we say, “unconventional methods” to facilitate healing for this troubled family, things start to get weird. Especially when some creepy young children are suddenly in the mix, and Riley is supposed to welcome them with “mothering” arms. Where did they come from? And what in the world makes Kathy and John think Riley is gonna be okay with these odd young’uns, one of whom is clearly not quite right in the head? The film’s primary tension comes from how Riley tries to manage each new bit of information thrown at her, and figure out what in hell her parents are up to. And possibly the old beau as well. The film impressively takes its time setting the tableau for this series of events, and while most of us have seen enough disturbing horror films to expect certain lousy things to happen in a story such as this, Joshua Morgan reveals himself to be a thoughtful, psychologically tuned-in kinda filmmaker. Issues of alcoholism, domestic abuse and estrangement are brought up, but nothing is driven to extremes the way you might expect. This is a character drama, one in which you get to observe these folks’ behavior yourself, and try to figure shit out right along with Riley.

CHILDREN OF THE PINES (KELLY TAPPAN) (screenshot)

And let’s talk now about Kelly Tappan’s performance here. Some of the first notes I wrote down while watching this were “terrific acting” and “totally naturalistic scene in the diner,” that being a conversation between Riley and Gordon as they get reacquainted before some of the more disturbing stuff happens. Tappan manages to do something all too rare in movies these days: Convince you that this girl exists and is genuinely like people you might know in her reactions and comments. Without being shrill or over the top, she lets you know she is truly concerned about her family and is trying to figure out what to do. When the moment comes where she has “had enough,” you’re totally with her all the way. It’s a marvelous, nuanced performance by this young actress. Her mom, Bowman’s role, is also impressive although I often wonder WHY a seemingly intelligent, thoughtful woman like this would go along with some clearly deranged behavior from her hubby. But then we KNOW this kinda shit happens today, don’t we?

The behavior of the cult that Riley’s parents are being guided by has some serious resonance with stuff we know is going on today, and one of the cult’s reps, the energetically cracked Lorelei (Donna Rae Allen) is believable in a downright icky way. I consider it a small miracle that director Morgan shows so much restraint in this production when he could have cheerfully gone much more over the top. And let it be said that while there IS some shocking violence in the film’s final third, it does NOT go over the top or push the limits. Events stay just on the right side of plausibility, which is disturbing unto itself. And the acting is naturalistic to a fault. The whole cast here impressed me, honestly. And the mountain setting is memorable as well… the film is visually striking, and you absolutely can imagine that all these events are actually happening in this little town. When Riley is walking through a snow-covered pathway, trying not to slip in her little boots, you feel every second of her effort. And you ROOT for her with every step, no doubt about it. That’s testament to Tappan’s anchoring performance, which I won’t soon forget.

I could quibble about the ending, which I wasn’t that wild about, and I sometimes get personally worked up about dysfunctional family dramas, especially when the solutions bad parents seek are clearly bonkers. But there is something genuinely compelling about what writer/director Joshua Morgan has given us here. The degree of realism, the fine acting, and the disciplined script all indicate a filmmaker with loads of promise and the thoughtful nature to look at complex human dilemmas with plenty of empathy and curiosity. CHILDREN OF THE PINES ends up being clearly on the INTELLIGENT side of the horror genre, with a determination to avoid cliches and overused tropes as much as possible. I applaud it for that, and will be interested in whatever Mister Morgan does in the future. Not to mention the charming Ms Tappan.

HEY, MA! WATCH THIS Movies Streaming Video | Kevin Renick | October 10, 2024 | CHILDREN OF THE PINES Cults Danielle J Bowman Digital Release Donna Rae Allen Dysfunctional Family Horror Movies Joshua Morgan Kelly Tappan Movies Psychological Thriller Richard Cohn-Lee Streaming Video Trailer Unrated Vas Provatakis

MILLENNIAL NASTIES: ANALYZING A DECADE OF BRUTAL HORROR FILM VIOLENCE

(ARIEL POWERS-SCHAUB; 182 pages; ENCYCLOPOCALYPSE PUBLICATIONS; 2024)

There are many books out there about horror films; it’s an immensely popular genre. So it’s a perfectly reasonable proposition to put together a new volume that focuses on horror cinema of the new millennium. But this new MILLENNIAL NASTIES tome startles by zeroing in on the most violent and nihilistic films, comprising the so-called “torture porn” genre and the films that followed in its wake. It’s doubly startling by being written by a female author, that being Ariel Powers-Schaub. Maybe it’s narrow-minded of me to even SAY that; after all, women ARE a big part of the horror-loving audience. But girls don’t do so well in horror films (excepting the whole “final girl” trope that we are all familiar with); killing off “helpless” or naive females is a staple of the genre, so I simply wouldn’t have predicted a woman serving up a comprehensive look at this popular phenomenon. What is most startling of ALL, however, is that this book ends up being insightful, comprehensive, thorough and absolutely a blast to read… I would call it “required reading” for fans of “brutal horror films,” which the title makes clear it sets out to examine. We’re talking the SAW franchise, many of the works of director Eli Roth (HOSTEL, CABIN FEVER, et cetera), and chapters dealing with specific thematic areas like “Fucked Up Families” (ex: Rob Zombie’s THE DEVIL’S REJECTS), “You Can’t Cheat Death” (the FINAL DESTINATION franchise) and the comically titled “The Locals Run This Town” (THE TEXAS CHAINSAW MASSACRE and THE HILLS HAVE EYES, two films discussed in a rather large section of the book titled “The Era of Remakes: Nasti-fication For a New Generation”). Powers-Schaub clearly has an abiding interest in modern bloody horror films, but she does those of us who are fascinated by this genre (but not obsessive) a real favor by comparing original films to remakes, first films in a series to subsequent sequels, and most importantly, WHAT exactly stands out, plot-wise, acting-wise and “memorable kill”-wise in each film. That takes real ambition, and an ability to contextualize the appeal of films that, for a large number of people out there, are just too SICK and stomach-churning to ever go near.

In the Foreword, editor Zoe Rose Smith praises Powers-Schaub thusly:

“I could intrinsically sense just how passionate and dedicated she (Ariel) was to not only the horror genre, but to certain niches and even certain films like SAW. It didn’t take long before Ariel began to show just how committed to horror she was; with such a wonderful way of delivering her thoughts on different topics and really expanding her voice across all things from slashers with THE SLUMBER PARTY MASSACRE to found footage with THE BLAIR WITCH PROJECT to torture porn with HOSTEL… ”

MILLENNIAL NASTIES (author ARIEL POWERS-SCHAUB) (publicity photo)

Some people may view films where people are tortured or carved up creatively as nothing but abominable trash (and I KNOW some of those people), but after all, it’s a violent world, and films have always reflected that. Any genre of cinema that is enduringly popular deserves to be taken seriously, and I can’t imagine ANY writer doing a more balanced and entertaining analysis of the SAW franchise, THE STRANGERS, HOSTEL, WOLF CREEK, WRONG TURN (that film and its sequel are part of a very entertaining section titled “Original Slashers”), THE LAST HOUSE ON THE LEFT (remake), et al, than what Ms Powers-Schaub gives us here. I smiled repeatedly as I read her prose, and sometimes felt my jaw drop as I read her pithy and memorable assessments. Some examples:

“Most of the academic writing about torture porn and similar films has been analyzing the impact of 9/11. America’s sense of security from the 1990s was shattered. Suddenly, Americans were fearful of The Other, The Outsider. Bigotry made a huge comeback, though it never really left. And American attitudes became both very sad and angry, stuck in an ‘us versus them’ mentality. This book is not focused on 9/11, but it is mentioned when relevant to the analysis. Horror films always reflect the world around them, and these films were born from global trauma.”

SAW Franchise artwork (image created by: JOSHUA WILLIAMS)

“Throughout the SAW franchise, each film tackles multiple themes, and offers just as much plot and character development as it does blood and guts. The films in the SAW franchise all have similar setups, and a formula that gets more strongly entrenched as the decade progresses. The main villain (or anti-hero, depending on who you ask), is a man named John Kramer, a successful engineer and entrepreneur. After he suffers some personal tragedies, he begins trapping and testing victims of his choice, and makes them confront their own will to live. The press calls him Jigsaw because he always takes a piece of skin, shaped like a puzzle piece, as a trophy when his victims die. It was possible to keep strong plot threads in each film because of creative consistency. Members of the cast and crew worked on multiple movies, most notably Tobin Bell, the actor who played John Kramer/Jigsaw. The themes explored in the franchise that are the most consistent throughout all have to do with family and loyalty. Jigsaw is particularly interested in fatherhood, and what it means to be a good father. The films in the franchise also offer an exploration of systems meant to help people, specifically the police and medical care… ”

“Much like the phenomenon that occurred with THE TEXAS CHAINSAW MASSACRE (Director: Hooper, 1974), people remember SAW being more violent and gruesome than it is. Most of the torture and violence is implied, or kept partially hidden, most likely due to budget constraints of the debut film makers. Part of SAW’s signature look is the frantic editing, sometimes giving the film a feeling similar to a music video. The editing style trend happened accidentally, because the film makers didn’t have the time or the budget to shoot enough takes of all the scenes they needed and decided to make up for it in the editing. That style of editing became a hallmark of the decade and torture porn genre, seen in many other MILLENNIAL NASTIES in this book.”

“During the Millennial Nasty decade, American characters were often portrayed as afraid of the world. In America’s reality, it was becoming clear that people in other countries didn’t necessarily trust us, as global citizens watched America’s involvement in war. That feeling of mistrust led to a trend in filmmaking where some vacationers – usually young and beautiful tourists – went off to an unfamiliar area and didn’t make it home. Tourists, especially white tourists, in these movies are hunted and killed for their physical and national characteristics. This wasn’t strictly an American fear, however. An excellent example from Australia, WOLF CREEK, explored similar themes. CABIN FEVER fits in this chapter, as well, although the fear is domestic and biological, as campers and a small town are picked off by a disease. However, the fear of the disease leads to person-on-person violence and represents the nastiness that can happen when Americans fear for their safety and try to protect themselves. In each of these films, vacationers are hoping to rely on the kindness of strangers for help, and they are let down in the worst ways…”

“HOSTEL is supposed to be making fun of Americans, highlighting the ways we can move about the world in boorish ways, anticipating everyone to meet our needs. And HOSTEL could have made this point, but it just misses. By focusing on the male characters who are victimized, and keeping the story tightly centered on their experience, HOSTEL does not take time to comment on human trafficking and exploitation or American exceptionalism. In fact, the film has the opposite effect, making people angrier at Americans. Slovakian officials decried the film and said it was offensive to depict their culture in such a way.”

“The focus on men’s experiences in HOSTEL is a unique one. Men are crying and begging for their lives in this film. That did not fit the macho portrayal of masculinity that was so prevalent in this era. It also subverts a trope that relies on purity being a saving grace in horror films. Drawing on our knowledge of the Final Girl, the audience may think Josh will be the lone survivor, because he resists the temptations of Amsterdam the most, though he is not perfect. But in fact, Pax is the Final Boy, who has been trying to influence Josh the whole time. Josh ending his night early is what gets him caught before Pax. HOSTEL succeeds in flipping a horror trope on its head to surprise audiences with a Final Boy who loves sex and partying. That was surprising and refreshing at the time… ”

“HOUSE OF 1000 CORPSES is a staple of the Millennial Nasty era, and also somehow apart from it, because Zombie started the film in an earlier era. Production wrapped in 2000, but the film had to go through many cuts to be considered suitable for audiences. And then 9/11 happened, and many horror films were significantly cut and/or delayed as the world reacted to the tragedy. This combination of events adds up to a film that was released into an era that was ready and waiting for violence and nihilism on screen, but created in an era where that was a fresh take on horror. That makes HOUSE OF 1000 CORPSES feel timeless, in a way some other films discussed in this book will not.”

“In my 2021 review for GHOULS MAGAZINE, I describe what puts this film snugly in its era:

“Rob Zombie used this movie as a conduit to talk to the audience, and to challenge us. Though this movie would later be called torture porn, there is no sexual violence. However, there are many close-up shots of faces and bodies of dead women, which, even if not explicitly sexualized, are very clearly on display more than men. And there is a lot of overlap in sexiness with horror imagery. For example, images of women stripping while also playing with toy skeletons. There are several shots where characters are talking directly to the camera, in a way that can make the audience feel exposed. In the opening, when Captain Spaulding is being robbed and not backing down, the last thing he says to the robbers is ‘and most of all, fuck you,’ and shoots a gun at the camera. This tells the audience that Zombie does not care about our boundaries, and we are in his world now. Later, when the danger is obvious and we are worried for our main characters, the local cops find one of the cheerleaders, dead and in the trunk of a car. She is naked, and has the words ‘trick or treat’ carved into her skin. As the camera lingers on her body, we hear Otis in a voiceover, saying over and over again, louder and louder ‘hope you like what you see!’ The audience is forced to sit with the horrifying image, and question why we may, in fact, like what we see. Near the end of the film, as Denise and Jerry are dressed and bound for sacrifice, Otis speaks to Jerry, but looks directly into the camera and tells the viewer, ‘It’s all true, the boogeyman is real and you found him.’ I hear this as Zombie claiming to be Hollywood’s new boogeyman, a hopeful statement when this was filmed. This film means to push your boundaries and have you question your own comfort with what’s on screen… ”

“What makes this film (WRONG TURN) a sign of things to come throughout the decade is how brutal and violent it is. The cannibals’ house is covered in filth, and the lighting in the interior scenes makes it appear even grimier than it is… The house is by far the nastiest part of the film – very different from the clean homes and good schools of the ‘90s slashers. The kills are nasty for a slasher – that is to say, compared to some other films discussed in this book, these kills are nothing special. But compared to the history of slashers, in which teenagers were often stabbed, sometimes off screen, WRONG TURN offers more gore. For example, Francine is garroted by barbed wire and Carly’s head is chopped in half. And, of course, the family of cannibals. As WRONG TURN became a franchise, the lore around the cannibals and where they came from expanded. But the first movie doesn’t explain much, and in it the cannibals don’t speak, so both the characters and the audience are left with no understanding. The cannibals communicate by making clicking sounds and cackling, and they move through the woods quickly and stealthily. They are three men, all dressed in dirty clothes and missing fingers, teeth, and hair. The cannibals do not care how they are perceived by other people, possibly because they see others as food, and we don’t normally care what our food thinks of us. There is no attempt to hide their crimes. They are not shy about the graveyard of tourists’ cars they have on their property, or the personal items collected from their victims. Because we cannot understand the cannibal family’s motives or communication, they are ‘othered’ by default. WRONG TURN is a franchise about fear of The Other; fear of what we don’t understand. That has always been a topic ripe for exploration through the horror genre, and especially in the early 2000s when America was so distrustful of anyone we considered The Other.”

I could continue to quote many other passages at length from this fascinating book, but ultimately your level of interest in it will depend on how much you watch or care about the horror movies the author discusses. I personally found it fascinating how she divides up roughly a decade’s worth of dark horror films into meaningful categories, such as “home invasion” stories (y’all remember that very disturbing entry THE STRANGERS, where the bound victims ask WHY the merciless killers are doing what they’re doing, and the quick answer is “because you were HOME”?), Americans on vacation overseas, “fucked-up families,” et cetera. It reveals how recurring themes and tropes in horror films are used both to give the audience what they want, and to find refreshing variations for the often eager young filmmakers to explore. Powers-Schaub does a terrific job in the remakes section of comparing disturbing and legendary ‘70s horror classics like THE LAST HOUSE ON THE LEFT, to its edgy millennial update, discussing both villains and victims (and the revenge part of each story) with gusto. She provides a personal and intellectual throughline that gives this whole volume far more creative and contemplative HEFT than you might think in such a project. Do you have to be familiar with the genre written about to appreciate this book? Well, the author doesn’t necessarily think so, although she points to the original Tobe Hooper classic THE TEXAS CHAIN SAW MASSACRE as being somewhat of a granddaddy to what followed. She writes:

“If I can suggest watching one film before reading, let it be Tobe Hooper’s 1974 classic THE TEXAS CHAIN SAW MASSACRE. That may come as a surprising recommendation, since it’s not a Millennial Nasty. It is, in fact, one of the original Video Nasties, and it has influenced horror ever since it hit drive-in theater screens. It is referenced throughout this book, as its influences impact the analysis of Millennial Nasties. Three characters are mentioned by name throughout this book, and I will credit them here:

Sally Hardesty: the final girl, played by Marilyn Burns

Pam: Sally’s best friend, played by Teri McMinn

Leatherface: the chainsaw-wielding killer, played by Gunnar Hansen.”

What’s fascinating about the influence of TTCM is that for all its shocking depravity at the time in the mid-’70s, there was very little blood or guts shown on the screen. The suspense came from the buildup and the careful editing. But the films the author talks about in detail here are generally explicit, depicting depraved human cruelty and sadism that show us all the things we have nightmares about or read in violent crime stories here and there. She does a superb job of providing context, giving us a clear idea of WHERE the themes of these films come from and even whether there is some sort of moral foundation in evidence. And far from being films made by hacks looking to earn a quick buck from a known formula, many of these films were produced by thoughtful directors such as James Wan, Eli Roth, Bryan Bertino and Roland Joffe, who have all done significant work in different genres. Powers-Schaub was attentive to the evolution and influence of horror films from a younger age, and she’s consistently interesting in what she has to say here. In her intro, she writes that she “couldn’t remember a time in her life before horror stories,” and wrote about the SAW franchise as a way to “process my feelings about the Covid-19 pandemic,” which led to the opportunity to write for GHOULS MAGAZINE. Of MILLENNIAL NASTIES, a culmination of sorts of her interest in the topic, she tells us:

“This book is a series of essays analyzing specific horror films in a specific time period… It includes some personal opinions and some of my own observations of the world around me. There aren’t many books written yet that analyze this decade and subgenre, which is exciting, and a bit daunting. On a very personal note, this book has been inside of me for years, and I needed to get it out. I am so thankful that I got to. This is not an academic text. I wanted to write my own analyses of these films, make my own points, not gather points made by others or slow down the reader with lots of citations. It’s not a behind-the-scenes or a making-of text, either. Sometimes, production details are included when they were relevant to my analysis, but analysis remained my primary goal. It is not an exhaustive list of every film that could be explored, but rather the most important films to analyze for trends and themes in this time period… ”

Mission accomplished, Ariel! I just don’t think many other books will appear that have as much to say about certain trends in horror for a decade-plus, than MILLENNIAL NASTIES. From discussing what “torture porn” does or does not mean, to the recurring themes and franchises that draw ongoing interest from horror audiences, to how changing times and social events affect both filmmakers and their genre fans, this book has plenty to say from an enormously gifted, thoughtful writer. Yes, there’s some disgusting things portrayed in these films, and Powers-Schaub is not at all above taking some directors and writers to task when they sink into misogyny, racism, et cetera. But I am truly impressed with her ability to keep the reader entertained and stimulated, with a focus here that makes sense and stirs the emotions. I would argue that this book is actually culturally significant, a survey of one grouping of modern horror films that you might think would only appeal to fans of the gross-out and hardcore bloodletting of a HOSTEL, WRONG TURN, WOLF CREEK, et cetera. But the author is taking a much bigger view of all this in her book, telling us something about humanity (or lack of it), fear and the changing nature of vulnerability and ANGST in the modern world. As such, MILLENNIAL NASTIES has something interesting to say about the importance of therapy and making creative choices. She’s made a good one here, in a truly unique book that I think I will be reading multiple times.

HEY, MA! WATCH THIS LITERARY LICENSE... REVOKED! Movies Non-Fiction Book Reviews | Kevin Renick | October 1, 2024 | Analysis Ariel Powers-Schaub Books CABIN FEVER Eli Roth Encyclopocalypse Publications GHOULS MAGAZINE Horror Horror Movies HOSTEL HOUSE OF 1000 CORPSES James Wan MILLENNIAL NASTIES Non-Fiction Rob Zombie Roland Joffe SAW THE LAST HOUSE ON THE LEFT THE STRANGERS THE TEXAS CHAINSAW MASSACRE Tobe Hooper Tobin Bell WOLF CREEK WRONG TURN

GRACIE AND PEDRO: MISSION IMPOSSIBLE

(STORY WARRIOR MEDIA CAPITAL/SECOND CHANCE PRODUCTIONS/POLYCAT ANIMOTION/KALEIDOSCOPE HOME ENTERTAINMENT (87 minutes; Rated PG); 2024)

GRACIE AND PEDRO: MISSION IMPOSSIBLE (also known as PETS TO THE RESCUE in some regions) is a delightful family adventure that puts a fresh spin on the “lost pets” genre. The film follows two mismatched animals – Gracie, a pampered show dog used to the comforts of luxury, and Pedro, a resourceful, street-smart alley cat – as they find themselves stranded in the chaotic city of Las Vegas after being separated from their owners during a cross-country move. The movie skillfully blends humor, heart, and excitement as the unlikely duo embarks on a thrilling journey to reunite with their humans. The film’s visual portrayal of Las Vegas is vibrant and lively, capturing both the glitz of the strip and the more rugged, less glamorous parts of the city. The bustling urban setting becomes an integral part of the story, offering endless challenges and unexpected encounters for the duo. From dodging dangerous traffic to outwitting quirky characters, the city becomes a character in itself, full of unpredictable twists and turns. What sets GRACIE AND PEDRO… apart is the dynamic relationship between the two leads. Gracie, having been spoiled her entire life, is initially out of her depth in the chaotic and gritty world she’s thrust into. Pedro, on the other hand, has always lived on the streets and quickly takes the role of a reluctant guide, showing her how to survive.

GRACIE AND PEDRO: MISSION IMPOSSIBLE (screen capture)

Their differences, while comedic at first, gradually transform into the heart of the film. Gracie’s snobbishness softens as she learns to navigate the world without her usual privileges, and Pedro, despite his tough exterior, begins to reveal a soft spot for his unlikely companion. The film also explores themes of trust, teamwork, and resilience, as Gracie and Pedro face a series of obstacles – from shady characters looking to exploit them to daring escape scenes where their wits are tested. Their journey is peppered with moments of vulnerability, humor, and genuine connection, making their evolving friendship the emotional core of the story. While GRACIE AND PEDRO… follows some familiar beats common in family adventure films – like the classic journey home and the eventual triumph of friendship – the execution is heartfelt, and the character development keeps it engaging. The voice acting adds depth to the characters, with Gracie’s prim and proper tone (courtesy of Claire Alan) clashing amusingly with Pedro’s scrappy, streetwise attitude (provided by Cory Doran). Their banter and growing mutual respect make for many endearing and laugh-out-loud moments. Other voices are provided by a stellar cast of Hollywood’s elite class: Brooke Shields, Danny Trejo, Al Franken, Bill Nighy, Alicia Silverstone, and Susan Sarandon among them.

Although the plot is somewhat predictable, especially for seasoned viewers of this genre, the film’s vibrant setting, energetic pace, and charming leads make it a thoroughly enjoyable experience. Families and animal lovers alike will appreciate the fun-filled adventure and emotional resonance that the characters of Gracie and Pedro brings to the screen. In the end, GRACIE AND PEDRO: MISSION IMPOSSIBLE is more than just a lighthearted animated romp through Las Vegas; it’s a celebration of the bonds that form when two unlikely individuals come together and face the world. It’s a feel-good, entertaining movie that emphasizes the power of friendship, adaptability, and the courage to find your way home. Oh, and for anyone wondering about a family movie night with this one… have no fear, my young’ns, aged 9, 5 and 3 thoroughly enjoyed it!

HEY, MA! WATCH THIS Movies | Kasey Lehmkuhl | September 22, 2024 | Adventure Movie Al Franken Alicia Silverstone Bill Nighy Brooke Shields Buddy Movie Claire Alan Computer Animation Cory Doran Danny Trejo Digital Family Movie GRACIE AND PEDRO: MISSION IMPOSSIBLE GRACIE AND PEDRO: PETS TO THE RESCUE Las Vegas Susan Sarandon

FITTING IN

(THE MOVIE PARTNERSHIP/ELEVATION PICTURES/BLUE FOX ENTERTAINMENT/TELEFILM CANADA/WONDALAND PICTURES (106 minutes; Rated R) 2024)

FITTING IN is a coming-of-age comedy-drama that dives into the sensitive yet under-explored topic of reproductive health, sexuality, and self-discovery. The film centers around Lindy, a teenage girl whose world is turned upside down when she’s diagnosed with a reproductive condition (Mayer Rokitansky Küster Hauser or MRKH syndrome) that derails her expectations of what a normal sex life could be. This diagnosis forces Lindy to confront her identity and pushes her to explore unconventional methods to understand her body and desires.

FITTING IN (D’PHARAOH WOON-A-TAI, MADDIE ZIEGLER) (screenshot)

What sets FITTING IN apart is its brave and open approach to topics often considered taboo. Lindy’s journey is one that many might find unfamiliar in cinema, yet it’s handled with both humor and empathy, making the subject matter approachable and relatable. The film skillfully balances moments of comedic relief with deeply emotional scenes as Lindy grapples with her diagnosis and the impact it has on her sense of self-worth and future relationships. The heart of the movie lies in Lindy’s quest for empowerment. Rather than succumbing to societal expectations or limitations imposed by her condition, she embarks on an exploration of her own body and desires, seeking to redefine what a fulfilling life looks like for her. It’s a bold and often humorous look at the lengths we go to understand ourselves, even when faced with obstacles that seem insurmountable.

FITTING IN (EMILY HAMPSHIRE) (screenshot)

Maddie Ziegler shines in the role of Lindy, delivering a performance that captures both the confusion and courage of a young girl navigating unfamiliar terrain. Her portrayal is both vulnerable and strong, making Lindy’s journey feel authentic and deeply human. FITTING IN is not just about a medical condition—it’s about growing up, challenging norms, and redefining what it means to be in control of your own body and choices. It’s a thought-provoking, emotional, and, at times, funny film that will resonate with anyone who has ever felt like they didn’t fit in or had to rewrite their own narrative.

HEY, MA! WATCH THIS Movies Streaming Video | Kasey Lehmkuhl | September 1, 2024 | Comedy Coming-of-Age D'Pharaoh Woon-A-Tai Digital Download Digital On Demand Emily Hampshire FITTING IN Maddie Ziegler Movie Trailer Movies MRKH Syndrome Teen Drama

BODY PARTS

(SCREAMBOX EXCLUSIVE/SIDUS FILM PRODUCTIONS/DHL STUDIO/BLOODY DISGUSTING/CINEVERSE (104 minutes; Rated R); 2023)

The Korean (Heads up: There is reading involved!) horror anthology BODY PARTS (directed by Won-kyung Choi, Byeong-deock Jeon, Jisam, Jang-mi Kim, Gwang-Jin Lee and Wally Seo, but no information is given as to who directed which segment) offers a chilling exploration into the dark depths of cult-like fanaticism and personal vendettas. The film’s connecting thread follows a young reporter named Si-kyung (played by Kim Chae-Eun), who is hired by a detective known only as Mister Hwayoung to infiltrate a sinister cult-like ceremony by a group that worships a figure known as “the Father.” Each of the interconnecting stories focuses on a single cult member who must offer a gift in exchange for their release from their dread existence: The collection of a different body part by the five “participants.” Over the course of five different vignettes, the movie delves into the disturbing backstories of how each came to possess these individual body parts.

The film skillfully builds tension as it reveals the twisted actions that took place for these individuals to attain these specific body parts, starting with a story called “The Reek,” which leads to the attainment of a nose. Following is “Water Ghost Boy,” moving into the eyes. “exorcism.net” shows how Seon-min was able to acquire a tongue. Then we delve into “A Former Resident,” where Gyu-Hyeong was able to attain a torso. The story of what is unfolding with these gifts starts to become more and more in focus with the real motive of why the offerings are being delivered to the Father. When the young reporter is caught, she pleads to Mister Hwayoung for help, but he leaves her alone to face her fate. The betrayal leads to the detective’s own grim demise.

The narrative is haunting, with each character’s story adding layers to the cult’s ritual and its eerie allure. The climax, where the Father grants each member a wish to kill someone they hate, is both shocking and thought-provoking, leaving viewers questioning the price of revenge and blind devotion. The performances are gripping, with the cast (unfortunately, as with the directors, aside from the one exception above, there is almost no information about who played which part) delivering intense and believable portrayals of their tormented characters. The film’s atmosphere is suitably dark and foreboding, enhancing the sense of dread that permeates the story. Overall, the movie is a compelling psychological horror that examines the extremes of human desperation and the terrifying consequences of unchecked fanaticism. It’s a must-watch for fans of the horror genre who appreciate a well-crafted, unsettling narrative with an extra dose of gore, blood and splatter. BODY PARTS premieres on the Screambox streaming platform on July 30

HEY, MA! WATCH THIS Movies | Kasey Lehmkuhl | July 27, 2024 | Anthology BODY PARTS Byeong-deock Jeon Gwang-Jin Lee Han Sang-hyuk Horror Jang-mi Kim Jisam Jo Woo-ri Kim Ahyeon Kim Chae-Eun Kim Min-Seok Korean Kwon Ah-Reum Movies Psychological Thriller Rated R Screambox Wally Seo Won-kyung Choi

THE MOOR

(NUCLEAR TANGERINE/BULLDOG FILM DISTRIBUTION (120 minutes; Rated R); 2024)

I’ll say this for the producers of THE MOOR, a spooky child abduction mystery story set among the bleak, forbidding landscape of the Yorkshire moors: They’re a patient lot. Where most films about hauntings or horrifying events usually do their dastardly “darkness of human nature” deeds in 90 minutes or so, THE MOOR takes its sweet time and puts you through two hours of gothic atmosphere and slow-burn buildup to keep you engrossed. This proves to be a mixed blessing, but you gotta admire first-time director Chris Cronin’s level of confidence and focus in sticking to a particular aesthetic to tell his tale of grim kidnappings in not-so-jolly old England. And while his film won’t command the attention of EVERY viewer, those that can appreciate a mystery story that unfolds more like a literary classic than a conventional scary movie with “jump scares” and shit, will find lots to get lost in here. And without any question at all, child kidnappings is about as terrifying as anything in real life gets… they HAPPEN, and often when they end in murder, which is the case here, the killers are not always found.

THE MOOR (SOPHIA LA PORTA) (Screen Shot)

This particular story begins when two childhood friends go to a candy store to pocket some goodies, with young Claire detailing to her pal Danny how her not-at-all smart plan will take place. When things seem to be taking too long, Claire goes into the store to check things out, despite the fact that the owner does not care for her at all, a fact she makes clear. Danny is nowhere around, and Claire is told that the little boy’s father came and picked him up, a blatant lie. The film then jumps to many years later, when the adult Claire (Sophia La Porta), still traumatized by never knowing what happened to Danny, is in conversation with Danny’s father, Bill (a haunted and credible David Edward-Robertson), who posits that the nearby moors may hold some of the answers they are seeking. Not sure at ALL why he decides this; would a vast unforgiving wilderness be where your average psycho kiddie snatcher would take his pint-sized victims to dispose of? Maybe; I know nothing of such matters. Anyway, Bill wants to investigate the dark and foggy terrain of the moors (a striking landscape that has graced quite a few mystery films through the years) with the help of a psychic (Elizabeth Dormer-Phillips) and an experienced local, Thornley (the great Bernard Hill, who played King Theoden in the LOTR franchise, in one of his last performances), who has maps of the terrain they are seeking to explore and familiarity with the entire nightmarish saga. Of the series of kidnappings that have terrorized the area, Thornley says “Normally it’s around about 10% of young people who leave the area they were brought up in. But since that summer, it’s been about 50%. Personally I think they just didn’t want to see that place out their window anymore.”

THE MOOR (ELIZABETH DORMER-PHILLIPS) (Screen Shot)

He has a point… once the film takes us out onto the actual moors, it’s about as unfriendly and brooding a landscape as you could ever hope to see. Miles and miles of marshy NOTHINGNESS, perpetually in fog or shadow, where you could take a terrible fall, get hopelessly lost, or encounter something you would NEVER want to see in your worst nightmare. The film counts on us being deeply unsettled by this unfriendly expanse, and primed for ANY freaky event or discovery that might take place.

Except… there aren’t that many of them. Suspense builds rather slowly, and there are lots of scenes of our intrepid investigators wandering around in the grim nothingness clearly out of their element, and having a few combative conversations about what is really going on. As a viewer, you may find yourself ASKING what is “really going on,” and longing for a clear denouement. Some documentary style interview segments, a la the BLAIR WITCH PROJECT, try to fill in a few blanks for us, and clearly the film wants us to be open to the supernatural elements presented here, even though we already know a man has been arrested for the child killings and may possibly be released soon. We WANT Bill to learn the fate of his child, and for Claire to start having peaceful nights again once she learns the fate of her childhood friend. And let it be said that the ACTING is uniformly excellent in this film; those Brits do this stuff with class and absolute discipline; you will definitely BELIEVE there is a mystery to be solved here. La Porta and Edward-Robertson are both totally credible.

THE MOOR (SOPHIA LA PORTA, DAVID EDWARD-ROBERTSON, VICKI HACKETT, ELIZABETH DORMER-PHILLIPS, MARK PEACHEY) (Screen Shot)

But how much of this will be “riveting cinema” to you, ultimately? That is a highly individual thing. I really was compelled by the setting of this film, the chance to see the actual MOORS for the forbidding landscape they are, NOT a manufactured landscape. And I also felt I was in the presence of compelling, worthy filmmakers throughout. But was I scared? Was I really keen on the ultimate conclusion to this strange saga? Not so much, frankly. I tend to like my “evil” made straightforward and abundantly clear. So I don’t think most of you will get that from THE MOOR. But as a quietly gripping look at a truly ongoing nightmare, with an imposing natural landscape as one of the clear “villains,” this film is quite powerful in its own way. The “moor,” the scarier. Or something like that.

HEY, MA! WATCH THIS Movies | Kevin Renick | July 21, 2024 | Bernard Hill Child Abduction Chris Cronin David Edward-Robertson Elizabeth Dormer-Phillips England Horror Mark Peachey Movies Psychological Thriller Rated R Sophia La Porta THE MOOR Vicki Hackett

HEART OF AN OAK (LE CHENE)

(GAUMONT/CAMERA ONE/WINDS/KALEIDOSCOPE ENTERTAINMENT (81 minutes; Unrated); 2022)

There is so much that is rich and wonderful about this French-made nature film that I consider it a miracle that such a film even exists. It’s a “documentary” about the vividness of the natural world that has no narration whatsoever. It has all kinds of creatures scurrying around in its frames but virtually no “cutesy” music to accompany the movement of those creatures (with two minor exceptions). And instead of a panoramic overview of the wonders of Ma Nature that hops from setting to setting, this film focuses on the life within and around a specific tree. Yes, a TREE, in this case a gorgeous 200-plus years old oak tree that serves as the “heart” of the title. Can such a straightforward, unpretentious look at a portion of the natural world make for riveting cinema? Oh, you betcha. This film is a stunner.

Although co-directors Laurent Charbonnier and Michel Seydoux obviously had a clear vision of the kind of film they wanted to make, they needed a specially talented cinematographer to zero in on the minute details of this landscape and the critters inhabiting it that would hold an audience’s attention. And they sure found the right guy in Mathieu Giombini, who gives us breathtaking views of insects crawling on leaves, birds huddling together on a high branch or dodging a threat from a watching raptor, red squirrels running to and fro to fetch acorns or do a million other things, and tiny mice in their hidden underground homes, playing, trying to stay warm and watching at every turn for possible danger. Often in nature documentaries, a narrator will tell us what the animals are doing and how remarkable their survival skills are in a possibly unforgiving landscape. There was something so refreshing about watching HEART OF AN OAK and soon realizing there was NOT going to be any narration. Only stunning sequence after stunning sequence, accompanied by mostly subtle, evocative music that is almost always perfect. So we are free, as viewers, to just revel in the colorful and stunning imagery, and let our natural curiosity about, well, all things NATURAL, hold sway. It’s a gift from the amazing French crew that made this movie, and honestly one of the biggest surprises I’ve had as a film buff in a long, long time.

The giant oak tree that serves as the primary setting, does not prove to be limiting. We see what is happening in the upper branches of the tree as well as within the roots and below, in addition to the action happening in the general area of the tree, where deer and wild pigs are wandering (not to mention the omnipresent squirrels). We also get to see different seasons and weather conditions, with an extended rain sequence that is incredible. I can’t think of another film in this realm where you see raindrops hitting a patient insect in extreme closeup, or a family of rodents huddling together for warmth half hidden by leaves. There are numerous jaw-dropping sequences, such as a Northern Goshawk trying to make a meal out of a fast-moving Eurasian Jay, zooming after it through the forest like the speeder race on Endor in RETURN OF THE JEDI. I cannot for the life of me comprehend how this segment was filmed. Or how the camera was able to capture a slow-moving Acorn Weevil lumbering along a thin branch, allowing you to study every aspect of this photogenic insect in a way you’ll never get a chance to do in any other forum. And watching competitive mice fight over control of an acorn, like it’s a matter of life and death, conveys natural reality in a far more vivid manner than anything a narrator might say. It is honestly just a genius decision to dispense with narration in this film, meaning that there is no intrusive human voice, save for a somewhat questionable Dean Martin song used to accompany one rather vivid sequence of critters (mostly insects) getting it on and such. It’s sort of comical, I’ll say that. But the overall reaction I had throughout was absolute AWE, at the intense life force happening within and around a magnificent old tree. There are not many films of this “nature” out there, and if you are a lover of the sort of hidden wonders you might sometimes see on a hike in the woods, you’ll adore this movie.

The typical action movie will show the names of the stars in the closing credit sequence. I found it absolutely endearing that this film lists the many SPECIES of creatures we see here (yes, I’d been wondering) since they are, truly, the real “stars.” So that includes the aforementioned Acorn Weevil, which deserves some kind of award, the Wood Mouse, the Eurasian Jay, the Great Spotted Woodpecker, the Barn Owl, the Coypu, the badger and many others. The extreme closeups we get of every critter makes for genuinely awe-inspiring views of the secret world we are treated to here. I was never bored; in fact, I felt pure gratitude at the genuinely inspired choices this film makes. It made me even more of a nature lover than I already was. I recommend HEART OF AN OAK with no reservations whatsoever. At a time when we are seeing so much of our natural world destroyed or threatened by climate change. it’s good to have this in-depth, detailed reminder of the powerful mysteries and vital life forms that exist out there closer than we think, wanting only to do their instinctive thing, just as every one of us do every single day. Truly a stunning piece of cinema!

HEY, MA! WATCH THIS Movies | Kevin Renick | June 18, 2024 | Creatures Forest French Film Giant Oak HEART OF AN OAK Laurent Charbonnier LE CHENE Mathieu Giombini Michel Seydoux Movies Nature Nature Film Unrated

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