Ten More Horror Movies You May Have Missed

Hey everyone! I’m back with some more underrated and unheard of horror flicks. Prepare for the spooky…

 

Leviathan

This is the film I hinted to at the end of my last horror movie post. Falling somewhere between The Abyss and The Thing, it tells the story of an underwater mining team that comes across a shipwrecked Russian vessel. Unfortunately, this ship, the Leviathan, happens to be infected with a rather nasty body-horror-beast-making virus.

What Leviathan lacks in originality it makes up for in gross special effects. The cast is also surprisingly effective and is made up entirely of people-you-recognise-from-better-things, including the dude who plays Robocop, Ernie Frickin’ Hudson, the bad guy from Home Alone, and Trautman from Rambo. The film was also directed by the late George P. Cosmatos, better known for Rambo Part II and the magnificent Tombstone.

 

Planet of the Vampires

One of the grandfathers of the sci-fi horror genre, Planet of the Vampires is one of the most hugely influential movies in horror. A space exploration team comes into trouble in deep space and is forced to crash land on an unknown world. There, whilst looking for their downed comrades, the crew comes across strange spirits that take over the bodies of corporeal beings.

Allegedly one of Ridley Scott’s biggest influences, Planet of the Vampires creates a real sense of foreboding and an almost unique oppressive atmosphere, particularly given that it was made in 1965. Although it’s not dated particularly well, this film is perfect if you’re in a nostalgic mood or are interested in seeing the movie behind the original Alien.

 

The Blob

I’m not talking about the Steve McQueen original here, for your information. As much as I love the 1958 original, I absolutely adore the remake from 1988. Kevin Dillon stars as tough-punk-kid-with-motorbike Brian Flagg in this wonderfully campy, outrageously gory version of the B-movie cult classic.

A box office flop, this film is nearly criminally underrated in spite of having some amazing and should-be-iconic scenes. Want to see a man sucked down a garbage disposal drain? You got it. Frat boy getting more than he bargained for when trying to touch up his girl? You betcha. If you go into this film looking for fun, you’ll find it. Just don’t expect Schindler’s List.

 

Ravenous

This is, undoubtedly, one of my favourite films. Why? Because it’s unique. Mixing together the story of The Donner Party with the Native American myth of the Wendigo, Ravenous is light-hearted, tongue-in-cheek, yet still particularly terrifying.

Guy Pearce and Robert Carlyle both give great performances, with Carlyle in particular at his disturbing best. That said, the entire cast is absolutely fantastic. What really makes the film, though, is the brilliant score from Damon Albarn and Michael Nyman. Give it a watch.

 

One Point O

Simon, a computer programmer, starts finding mysterious, empty packages at his apartment. In an attempt to uncover how and why they are there, he investigates his neighbours – including Lance Henriksen, Deborah Kara Unger and Udo Kier. What he finds at the end of his search is shocking and deeply disturbing.

Low on gore and low on monsters, this Cronenberg-esque cyberpunk movie is one of the most unsettling films I have ever had the joy of watching. Also known as Paranoia 1.0 or Virus 1.0, the movie is dense and impenetrable, and is all the better for it.

 

The Innkeepers

Surprisingly for a modern horror film, The Innkeepers is a real slow-burner. The Yankee Pedlar Inn is on its final week before closure. Inside, the two innkeepers care for the last few guests whilst investigating its supposed history of paranormal activity.

At first, there is little to report, and the employees spend their time telling ghost stories to bratty kids and looking up the hotel’s history online. But, it’s not long until the hotel’s ghostly past starts to reveal itself. This film slowly cranks the tension to great effect, and its terrifying finale and numbing epilogue are amongst the best of the lesser-known horrors.

 

Ghost Story

Ghost Story is horror done the old-fashioned way: a good, creepy gothic horror tale about a ghost after revenge. Based on the novel by Peter Straub, it is also Fred Astaire’s last acting role alongside other heavyweights like Melvyn Douglas, John Houseman, and Douglas Fairbanks.

It’s not exactly a classic, and some of the special effects haven’t aged well, but there are some great, chilling scenes along the way. You’ll guess the shocking twist before the end, but you’re bound to enjoy the ride.

 

Triangle

It’s difficult to write about this film without unleashing some annoying spoilers, but I’ll try my best. After a brutal, surprise storm, a group of friends in a yacht manage to get aboard an abandoned ship in the middle of the ocean. But is it abandoned?

Triangle is a brilliant, mind-bending horror/thriller with some great twists and a nice new take on the Bermuda Triangle legend. Pretty individual, some good performances, well-directed, and with a lovely plot where every strand falls into place. What’s not to like? Well, for one thing, the fact that every bloody trailer contains massive spoilers. Instead, please find a small clip from the film below.

 

Asylum

I bloody love horror anthologies. They’re always entertaining, even when they’re cheap and awful. Asylum, though, is first-class traditional horror. Big, dramatic scores, screaming women, English accents, the works.

The basic premise is simple: a psychiatrist makes a visit to a mental asylum. When there, he visits four of the inmates, each with a particularly horrific story. Each of the segments is great, but of particular joy is the second part, a mysterious story about a peculiar suit-maker.

 

Freakylinks

Finally, this isn’t a horror movie, but instead an entire series. Freakylinks is one of my favourite shows ever. It was cancelled after a single season, and joins the extensive list of brilliant shows given up on too soon by Fox. It follows the adventures of a group of investigators who run a paranormal website.

Switching between found footage-style camerawork and traditional cinematography, Freakylinks follows a monster-of-the-week pattern with light undertones of a larger plot that unfortunately never materialized. Darkly comic and compelling, it was a little too ahead of its time, and suffered because of it. To rub salt into the wounds, Fox have so far refused to release it on DVD.

 

And that’s a wrap. Surely there are no more horror movies I can write about?

Oh wait. Yes there are.

See you next time!

Prometheus: A Fan’s View

So you may have read my review of Prometheus. Here is a runthrough of some of the interesting issues that can be discussed about the film.

 

Fire From The Gods

Let’s start with the title. Prometheus, the Titan in Greek mythology who not only stole fire from the gods, but also created man from clay. A figure that historically has represented scientific endeavour. The Modern Prometheus was the subtitle for Mary Shelley’s Frankenstein.

So what does that have to do with nasty space monsters?

The title of the film is also the name of the exploratory vessel that takes the Scientists to LV-223. In a way, Prometheus is the collective name for the crew of the ship, and the mission that they have embarked upon. To go and speak with the creators of mankind; to go and speak with God. It soon becomes clear to the crew that the gods are pissed. They are intent, or were intent, on wiping out all life on Earth, by sending a number of ships filled with bioweapons to the Solar System.

This can be seen as a lovely, Ridley Scott version of Prometheus being chained to a rock and having his liver eaten eternally.

If we are to believe that the Engineers/Space Jockeys are indeed the ‘gods’ of this story, then they are pissed off with mankind for some reason. Some way in which we have advanced technologically enough to be considered a threat? Is it the knowledge of space travel? The creation of artificial life?

In my opinion, no. When carbon dating the dead body of the Engineer outside the ‘worship room’ of their ship, they say that it’s been there 2000 years. Now, what happened approximately 2000 years ago in the history of mankind…

Jesus is yo’ homeboy.

Now, I’m not saying that the birth of Christianity and the life of Jesus Christ was what caused the Engineers to want to bring xenomorphy death down on us all, but there seems to be a hint in the film, namely this:

“It’s fun to stay at the YMCA!”

Yes, that’s a xenomorph, seemingly in a Christ-like pose.

Which brings the question, are these Engineers actually our gods? It seems they created us, but do they see themselves as the creators? Do they have any gods of our own? Was the birth – or the sacrifice – of Christ the reason for them to try to wipe us out? Why Christianity over any other religion?

But the question of the Engineers brings us to a further question…

Engineers or Engineered?

Now this is by no means foolproof. But isn’t it a bit strange that the Engineers/Space Jockeys appear in the same monochrome colour scheme as the xenomorphs, and the other nameless creations in their facilities on LV-223? The total lack of pigment in their skin and eyes, and the lack of hair. Apparently they have identical (or I assume near-identical) DNA to us. This is why the bioweapons that they have engineered to react to DNA (such as they did when the crew of the Prometheus went into the vase room) also react to the Engineers, leading to their eventual demise.

I have a wild theory that the Engineers themselves were created by something else. The way that the final living Engineer reacts to the proto-facehugger at the end of the film is very strange. There seems to be a lack of emotion, an almost automatic response to having to deal with the Lovecraftian nightmare trying to eat its face. They are all the same sex as well; they appear to be identical, in fact.

“I dare you to say we all look alike again, you SPACE RACIST!”

The only time you see real emotion, or any kind of reaction in fact, is when David speaks to them. It attacks violently afterwards, decapitating David first before turning on the humans. Why this reaction? Is it, perhaps, that it saw David as something similar to itself; a construct by another being. Had humanity finally stepped into the realm of the engineers by creating something themselves?

Finally, I have one more thought about the Engineers, and it perhaps ties into my previous, Christianity-based hypothesis. We are mankind – we were created in the image of a higher being, but given autonomy to live our lives the way we wanted. The Engineers are the angels in this allegory. Also created by the same being, treated as guardians until an eventual revolt. Are all the Engineers out to kill us, like those found on LV-223? Not necessarily. But given that the Engineers visited Earth at some point in the past, beyond the shown life-creation scene at the beginning of Prometheus, it seems as though they have had some kind of protector role for our species and our planet before.

 

Paranoid Android

David, played by Michael Fassbender, was by far the most interesting character for me. Despite being an android, he seemed to have by far the most depth as a character. What were his intentions?

It isn’t quite as simple as a robot being programmed to do things by the corporation, as it was in Alien. Ian Holm was terrifying as Ash, but David takes it to a whole other level. Instead of the cold aggression that Ash shows, David has a calculating edge. He chooses his words wisely; he is duplicitous, dangerous, and more than a little clever. The way he tricks Holloway into ingesting some of the primordial goop is ingenious. He almost always has the upper hand in his relationship with Shaw, and it is one of the few relationships that actually develop in the film – particularly the way she begins to trust him until his betrayal. You get the sense that, even at the end of the film, David is hiding something. He has, perhaps, developed a sentience of his own. He tells Shaw how he wants to see his ‘father’ dead, which makes you wonder exactly what he said to the Engineer.

Look at his lovely, robot face.

The only time David is not in full control of the situation is after he has been decapitated and is left on the ship. Even then you see another development in his character – he clearly does not want to ‘die’. Sensing that Shaw is the only chance for him to survive, he helps her to escape the lifeboat and then come to his assistance, so they can both get off LV-223.

The other relationship that threatens to be interesting in the film is that between David and Meredith Vickers. With Vickers as Weyland’s daughter and David as his ‘son’, there is a clear tension between the two. But, is Vickers all that she seems? Remember, we never see her come out of her stasis pod. Her only two modes are self-preservation and supporting the decisions of Weyland himself. The only time she ever diverts from this is when the ship’s captain asks if she is an android herself. I’m not saying she is…but think about it.

 

Anyway, I think that will do for now. I’ll leave you with this: I may well have been massively overthinking this film, and it could be nothing more than a big dumb sci-fi actioner. But, I’d like to think that instead of the plot-holes being plot-holes and the problems being problems, instead it is all part of a larger plan, that we may – or may not – see in a sequel.

Prometheus: A Review

This is going to be an oddly serious one. So, let’s get all my ‘funny’ points out of the way first:

•  I love Michael Fassbender and I love his magic space flute
• The inevitable Prometheus sequel should be a buddy comedy starring Shaw and David’s decapitated head. It will be called Prometheus 2: A-Head of the Times
• So many smart scientists, so many stupid decisions made. “I know! Let’s poke the weird alien lifeform, I’m sure nothing bad will happen” etc.
• I wish I had a robot friend whose head I could keep in a bag.
• I really wish there hadn’t been that ‘heroic sacrifice’ scene as a way to kill off three characters who they didn’t know how to end.
• On a related note, Charlize Theron really should have run to the side. “It’s slowly coming this way! Noooo!”
• I never thought I would see a scene where a woman gives herself a robot c-section to get rid of a tentacle space monster. Thanks, Ridley!
• I am upset that our creators are basically Lurch after he’s gone to the gym.

“I can benchpress 20 androids!”

Right, enough of that! Let’s talk serious.

I thoroughly enjoyed the film. Visually, it was stunning. An atmospheric and vibrant, unique world was created and in turn this formed a wonderfully immersive film. The soundtrack was great as well, it suited the film perfectly and bar a couple of cheesy moments it kept to the ‘space epic’ style brilliantly.

Michael Fassbender was wonderful.  Somehow the cold android had the most depth and was by far the most interesting character in the film. He also put in the best performance. I still wanted him to succeed with whatever crazy plan he had right up to the end, because he was the only character with a complex personality. Credit also goes to Charlize Theron.

Plus, he has a MAGIC SPACE FLUTE!

I would say, though, that the rest of the performances weren’t great. I don’t think this was necessarily the fault of the cast per se, but that the script they were given seemed very direct. There wasn’t much room for character development and it seemed to me as if the film was primarily focused on the big picture rather than the little. In my humble opinion the little things like character as intensely important, even in films with such big concepts as this. Just look at, for instance, Sunshine, which created a whole cast of unique characters who you genuinely cared for. I could barely remember what the characters in Prometheus looked like, let alone remember their names or character traits.

I think a lot of this comes from the hybrid nature of the film. Is it a space exploration film? Is it a monster movie? Is it a straight-up action flick? It worked best with the first two parts – the opening scenes and the first hour of runtime was brilliant. The way the tension was built when exploring the derelict space craft was fantastic. The intensity up to the moment when they find the ‘worship room’ (filled with the black vases) was expertly done.

Creepy Space Crucifix?

After that point, though, there seemed to be a few annoying clichés that crept in. The two guys who get lost in the craft (I suppose) were obviously going to die from the moment they left the rest of the group. They then proceed to make the horrible decision to not run from the obviously creepy alien goo snake and, surprise surprise, try to touch it. That’s the kind of shit that gets you ganked in the Alien universe and it’s the kind of stupid curiosity you haven’t really seen in this universe up to this point.

From then on, the whole film appears a little rushed. You see the rest of the crew go to find them again, dickhead scientist man start turning into an orc and being set on fire by Charlize Theron (in a moment of rare intelligence for a character in Prometheus), Dr Shaw give herself a c-section to get rid of the tentacle baby from Men In Black, her randomly stumble across Weyland, have the shocking relevation that wrinkly Guy Pearce is Charlize Theron’s father (or is she? More on that later), them all go off into the ship to talk to the last space-albino, angry bearded alien man kill a bunch of mooks, space albino wake up and attack in a grumpy rage, heroic sacrifice of remaining expendable characters, baby tentacle monster all grown up…and breathe. It all felt like too much in too little time. I’m hoping the eventual director’s cut will help solve this problem.

The number of people unhappy with the theatrical release of Kingdom of Heaven.

There were a few more problems I had with the film: for one, as an Alien fanboy, I hated the way the Engineers looked and how the excellent ‘space jockey’ look was apparently just a suit. Another was that some of the dialogue was a little on the nose. Noomi Rapace saying to David “you can’t feel. You’re just a robot” felt a little off for instance. But, in spite of all the flaws, I couldn’t help but really like this film. Not a classic, and I won’t love it at much as some of Ridley Scott’s other films, but it felt truly like a part of one of the great film universes – and better yet, built on it in an interesting way.

Up next: an Alien fan’s in-depth look at how Prometheus affects the universe – and a few theories about the film, from characters to themes.