Tag: horror

October Viewing – 4

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I thought of an interesting choice for tonight; the 2023 movie “Nefarious.”  I hadn’t watched the movie since it came out last year.  I had forgotten how good it is.  The malevolence and twitchiness of the Nefarious character and the step-by-step demolition of the psychiatrist’s composure and then his mental balance is fascinating to watch.  The creative team (including the actors) crafted an intricate little machine that advances the plot one ratchet tooth at a time and then brings us to the electrocution room in the penultimate scene.

And the electrocution of the demon’s host provides all the horror that is needed for a Halloween movie.  They even have to “fry” him twice for good measure.  And even though this film was made by a “Christian” production studio and has a clear message concerning the reality of evil in the world, that messaging does not overpower the dramatic balance.  The story works as a story for any audience.  I guess for non-believers they’ll just have to chalk up the strange events to psychological phenomena, such as multiple personality syndrome and autosuggestion.

Comparing this movie to other films I think the confrontation with Nefarious is somewhat akin to Agent Starling interacting with Hannibal Lector in “Silence of the Lambs.”  Of course, not exactly because there was a certain sympathy that Lector felt for Starling.  Whereas Nefarious is wholly bent on the destruction of everyone around him including the psychiatrist.  But there is the same sense that a malevolent genius is toying with his jailors.

And the other comparison that this movie conjures up in my mind is C. S. Lewis’s “The Screwtape Letters.”  In both works you get to see the demon’s point of view.  Nefarious at a certain point has to prove to the psychiatrist that there is a logic to the whole idea of demonic possession.  He has to explain how it’s done and how it advances the goals of Nefarious’ master.  And from what I can tell I think he used pretty orthodox doctrine on how and why Satan carries out his war against Heaven and mankind.

So, all in all I think I made a pretty good choice for tonight’s movie.  Of course, whether I watch the movie for Halloween or Easter is a matter of mood.  After all, you really can’t consider Hell without contrasting it with the establishment run by the power whom Nefarious calls “the Enemy.”  But even for atheists I think Nefarious is a pretty good choice for this time of year.  And to round off this post I’d like to say that all of the actors in this little teleplay acquitted themselves very ably.  But the actor who portrayed Nefarious was especially good.  If they gave Academy Award nominations to actors in movies made by Christian production companies then he would have deserved one for the performance he gave.  And the actors who played the psychiatrist and the warden were also top notch.

Well, if you’re looking for a good scary movie, I highly recommend Nefarious.  Give the devil his due.

October Viewing – 3

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And now a return to form.  Whereas Charles Laughton can make a “horror” movie into a semi-legitimate film, putting Boris Karloff and Bela Lugosi into a movie ensures that the full Universal horror treatment will ensue.

The Black Cat was such a pairing.  Bela Lugosi is a German medical doctor who was taken prisoner by the Russians during the First World War and eighteen years later he is looking to take revenge on Karloff who was the German commander who sold his troops out before the battle.  Also, while Lugosi was in prison Karloff stole away his wife telling her that Lugosi was dead.  Lugosi comes back to the scene of the battle where strangely Karloff has built an art deco palace on the site of the fort that he had commanded.  Later on, we learn that the whole hill is still booby-trapped with dynamite.  Well, you never know when that might come in handy.

There is a young American couple honeymooning in this Hungarian locale (sure why not) and Lugosi befriends them and then because of a motor vehicle accident during a rain storm, Lugosi is forced to bring them both to Karloff’s house where the doctor performs minor medical procedures that require putting her under a powerful sedative that makes her somewhat prescient upon meeting Karloff.

While the Americans sleep that night Lugosi and Karloff have a conference and we find out that Lugosi’s wife died of “pneumonia” years before.  Unsurprisingly Karloff decided to have her embalmed and put on display in his basement.  Well, sure, who wouldn’t!  And if all that isn’t bad enough Karloff tells Lugosi that his young daughter also died.  Next, we find out that Karloff is a satanic priest and the next night is the new moon and he will be celebrating a black mass at which he wants to sacrifice the American girl to Satan or something.  Lugosi objects and Karloff offers to play a game of chess to see whether she will die.  And Lugosi loses.  Darn.  Meanwhile we discover that Lugosi’s daughter is not dead but is married to Karloff and living in the house they are in.  The American girl meets her but somehow Lugosi still hasn’t heard about her.

A lot of goofy stuff happens with Lugosi’s servant pretending to obey Karloff and the American man being trapped in a room that eventually he escapes by just opening the door.  And even though the satanic mass is quite crowded Lugosi somehow easily manages to rescue the American girl.  And then everyone heads down into the basement for the climax.

So, let’s see.  Lugosi stumbles on the dead body of his daughter.  Karloff and Lugosi get into a fight that ends when Lugosi’s fatally wounded servant helps him over power and chain up Karloff to a dungeon wall (yes dungeon).  Then Lugosi decides to finally revenge the deaths of his wife and daughter on Karloff by skinning him alive.  But when the American girl sees this going on she screams and her husband finds their location and mistaking Lugosi’s intention he shoots the doctor.    Lugosi calls him a fool but tells the American couple to rush out of the building and get away from the hill because he is about to set off the timer that will trigger the dynamite to blow up the satanists, Karloff and Lugosi.  And in the last scene the happy honeymooners continue their railway journey to Budapest.

This movie has so many hokey things going on.  Why would Karloff believe that Lugosi’s loyal servant would do his bidding instead of his master?  Why would Karloff still have the timer and detonator for the dynamite not only intact but on prominent display in his basement?  Why wouldn’t Lugosi have killed Karloff as soon as he saw his wife stuffed and mounted in Karloff’s basement?  Are all art deco architects, satanists?  Or are all satanists art deco devotees?  What did Lugosi’s morbid fear of black cats have to do with anything else in the movie except the title?  So many questions.

The strange thing is I enjoyed the movie.  Sure, it made no sense.  But there was a style and an energy to it that was fun.  You sort of knew the American couple would emerge unscathed so really, we were watching the duel between Lugosi and Karloff and we knew that some kind of justice would prevail.  And those lousy satanists would get blown up.

In a way, with its modernist architecture juxtaposed against the medieval stonework of the underground fort it was a perfect way for the modern (1930s) world to intrude on the gothic horror that is the stock in trade of the Universal horror movies.  Art deco horror.  Well done Bela and Boris.

October Viewing – 2

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So, I enjoyed my recent first foray into old horror movies with Dracula enough to give it another whirl.  Tonight, I was going to try the Mummy but last night TCM had some Lugosi movies on so I picked “The Island of Lost Souls.”  This is a 1932 film starring Charles Laughton as Dr Moreau; a scientist who experimented on surgically converting animals into humans.  Lugosi has a relatively small part as one of his experiments.  He looks like a man-wolf and functions as, “The Sayer of the Law.”  This movie is just a renamed version of H.G. Wells’ story, “The Island of Dr. Moreau.”

Okay, the first thing to take into account is that Laughton is a much better actor than your typical horror movie mad scientist.  Now granted, this isn’t “Mutiny on the Bounty” so he has to work with what he’s given but Laughton sells it well.  The rest of the cast is adequate to the task at hand.  And the movie does deliver the climax that a fiendish Frankensteinian scientist will always reap; destruction at the hands of his tortured creations.

The highlights of the movie are of Moreau portraying an omnipotent ruler as he commands the obedience of his many creations.  On a hill in the jungle, he rings a gong twice, cracks a bullwhip and shouts down to his assembled subjects repeatedly, “What is the law?”  And the Sayer of the Law gives the various answers at each repetition of the question,

“Not to walk on all fours.  Are we not men?”

“Not to spill blood.  Are we not men?”

“Not to eat meat.  Are we not men?”

And this is enough to quiet the beast within each “man” when the night awakens his blood.  And if they become especially restless, he reminds them of “The House of Pain.”  This is where Moreau rearranged their living flesh to simulate a human form and apparently anesthetic was not part of the program.  Just the mention of it triggers howls of fear.

But when Moreau orders one of his creatures to murder an outsider, a man like Moreau, the creatures put together the pieces of the puzzle.  Moreau ordered one of them to spill blood, so, “the law is no more!”  And a man like Moreau was killed, so Moreau could be killed!  And so, dragging Moreau into the House of Pain for some unskilled surgery of their own was now on the agenda!

The subplot where Moreau tried to get an outside human male to fall in love with the “panther woman” who was his most successful attempt at mimicking the human form is somewhat interesting.  And the antics of the sailors who show up in a couple of sections of the story provide a slight amount of comedy.  But the real story is Moreau playing god to his creations and the inevitable revenge reaction destroying him.  H. G. Wells was a good writer so it is no surprise that his story is somewhat fun to watch in its first Hollywood portrayal.  I very much enjoyed rewatching Island of Lost Souls.  And I assume that Charles Laughton is the main reason.  Now, without a doubt he hammed up his portrayal as needed.  But his Moreau is a successful portrayal of the mad scientist.  Kudos to Mr. Laughton.

 

October Viewing – 1

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I was thinking of watching the Vance/Walz debate.  But I just didn’t feel like it.  Around ten o’clock I was browsing my X timeline and noticed that several of the people I follow were saying that Vance was doing serious damage to Walz.  But I just couldn’t be bothered.  I figure by tomorrow if he really did serious damage to Walz there would be all kinds of highlights to watch and if there weren’t I would have saved myself a lot of annoyance.  Instead, I decided to celebrate October by watching some Universal Horror.  I watched Dracula.

Now. I’ve seen that movie dozens of times.  I know it inside and out.  But what I did was to try to watch it as if for the first time.  I divorced it from the familiarity that renders it just a collection stereotypes and associated memories and tried to look at the images and the dialog to see how they strike me as cinema.

And it’s a funny thing.  It occurred to me that an audience that was used to cowboy movies and had only in the last year or so begun watching talking pictures might have been very excited by the visuals and the scenes portrayed.  The opening scene of Renfield travelling by horse drawn carriage into the Carpathian Mountains was very atmospheric.  The backdrops of the mountains were very well done.  And Castle Dracula was equally well done.

Renfield’s interview with Dracula was just the right combination of comedy and menace.  I will confess that I never found Bela Lugosi menacing enough to make his Dracula compelling but Van Helsing’s scientific vampire hunter is highly entertaining.  When he confronts Dracula with the mirror and later during his conversation with the vampire where he promises to find Dracula’s coffin and drive a stake through his heart, we are witnessing the central tension of the movie.  Everyone else is blind to how their neighbor from Transylvania is the nexus for all of the death and inexplicable occurrences.  But once Van Helsing shows up with his wolfbane and crucifixes even Renfield starts talking sense.

And that brings me to another aspect of the movie.  The humor between Renfield and the psychiatric orderly Martin is hammy and over the top but provides a very enjoyable counterpoint to the wildly unrealistic dramatic story.  The working-class manners and behavior of Martin and the rest of the staff contrasts to the more aristocratic manners and speech of the Sewards and their friends.  Even the madman Renfield is humanized in his dealings with Martin who affectionately calls Renfield “old fly-eater” and seems genuinely friendly to this vampire-in-training.

The final climax of Van Helsing and Harker storming Carfax Abbey and finishing off Dracula with the promised stake through the heart is a little underwhelming but I think that at the time and at first view Dracula must have been an exciting motion picture that thrilled audiences, especially young women who would have personalized the erotic danger that Dracula was meant to imply for them.

Now of course, for us, after nearly a century of time in which the movie has accreted mostly comical connections to everything from breakfast cereals to Sesame Street characters it’s hard to imagine real fear associated with this film.  But looked at as a piece of art it can definitely be enjoyed for what it is.  There is still blood left in the movie.  And as Bela reminds us, “The blood is the life.”

Update:

War Pig commented:

To the contrary, since I first saw it as a child, Lugosi was the perfect Dracula. While Christopher Lee was more intimidating, Lugosi was the epitome of the Count. Suave, debonaire, charming, intelligent, faultless evening dress which he wore with dignity and aplomb. So smooth and with the east European accent. Yet he was also the very image of evil when he went for the throat.

Mom and my sister sat and watched it with rapt attention. The vampire is, of course, the ultimate Casanova, as well.

 

2024 Summer Movie Talk – Part 9

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Classic Horror Movies

Okay, the category is one of those inconsistent constructs.  Why not call them classic monster movies?  How do you define classic?  What is the allowable chronological range?  Are silent movies included?  Well, I’m fudging all of these and just selecting what I want to, no matter that logical consistency probably goes out the window.

Let’s look at my list.  Basically, it’s the Universal monster movies in their heyday along with “Nosferatu,” “Island of Lost Souls” and “House on Haunted Hill” thrown in for dubious reasons (basically because I like them).  I’ve left out a dozen Universal films that could just as easily have been included and I’ve included “The Invisible Man” and “Dr. Jekyll and Mr. Hyde” which really belong in a list of early science fiction stories.  But that probably applies to the Frankenstein movies too.  So, the whole thing is incredibly subjective and personal in nature.

So, I won’t belabor the point any longer and will instead chalk this up to a labor of love.  As a little kid I thoroughly enjoyed these movies and hundreds more that provided a similar thrill.  List your favorites in the comments.  If you want my detailed reviews of most of these movies do a search on the site by title.

  1. NOSFERATU (1922)
  2. THE PHANTOM OF THE OPERA (1925)
  3. DRACULA (1931)
  4. FRANKENSTEIN (1931)
  5. JEKYLL AND MR. HYDE (1931)
  6. THE MUMMY (1932)
  7. ISLAND OF LOST SOULS (1932)
  8. THE INVISIBLE MAN (1933)
  9. BRIDE OF FRANKENSTEIN (1935)
  10. THE WEREWOLF OF LONDON (1935)
  11. THE WOLF MAN (1941)
  12. HOUSE ON HAUNTED HILL (1959)

 

UPDATE

War Pig’s picks:

Black Sabbath 1963

Black Sunday 1960

Night o/t Living Dead

Dr Jekyll & Mr Hyde 1931

Psycho

The Birds

Phantom o/t Opera 1925

Last Man On Earth 1964

Incredible Shrinking Man

Curse o/t Demon

Island of Dr Moreau 1932

Murders in the Rue Morgue

The Tingler

M (also under film noir, crime, etc.)

 

 

 

Talk the Talk

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Regular readers of this site know I tend to make fun of H P Lovecraft’s prose style.  In his better written stories, it has a quasi-nineteenth century sound to it.  But in some of his less ably written material it instead just sounds kind of overblown.  But recently I’ve been listening to a YouTube channel called Horror Babble by some guy called Ian Gordon who sounds a little like the actor who played Jay Peterman on Seinfeld.  He provides an accent that, I guess, is supposed to sound like something between 1920’s Oxbridge English and possibly early twentieth century Boston Brahmin.

After listening to a few of these recordings I’ve realized that this presentation makes these stories incalculably more entertaining.  Let me qualify this statement.  It doesn’t make the stories better horror stories.  But the presentation is just more fun.  I think the accent makes the ridiculousness of the stories seem intentional.  It’s camp.

And maybe it works because that’s more or less the “voice” that Lovecraft was hearing in his own head.  It’s always seemed to me that Lovecraft’s work was sort of an homage to Edgar Allan Poe.  And because Lovecraft lived far removed from the era when Poe’s prose was contemporary and because Poe was a consummately better writer Lovecraft’s language always seems stilted.   But with a spoken word interpreter somewhat bridging the gap with his theatrical reading it somehow works pretty well.

Now most of you probably already listen to audio-books.  The only ones I’ve ever listened to were Larry Correia’s Adventures of Tom Stranger with Adam Baldwin providing the voice talent.  And come to think of it the specific voice really does make a big difference in the enjoyment of that story too.

Well, anyway, this little epiphany has got me thinking about the voice that you hear when you write something.  I mean, unless you’re writing a character that’s more or less you, how do you hear that character or characters speaking.  What do they sound like?  Is it a regional accent?  And that’s kind of a big deal.  If all my characters sound exactly like me that might make it hard for my readers to see these characters as real people.  Going back and reading some of my dialog I would say that there are definitely differences in speech for the different characters.  And this is most noticeable for characters that differ in sex, age and generation.  So, I’m not worried that I have to reinvent all of my dialog.

But it does occur to me that maybe I’d like to add some characters that have very flamboyant speech patterns just to give the story some extra zing.  After all, even Shakespeare added dialect characters to make some of the scenes comical or memorable.  His dialect characters were usually Irish or Welsh or Scottish.  I guess I could throw in a Southie from Boston or a South Asian character for good measure.  But if I really want to get exotic, I’ll throw in a Millennial Social Justice Warrior.  Now that’s a foreign language that’ll take some practice.

Cure (1997) – A Movie Review

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“Cure” is a Japanese psychological horror film written and directed by Kiyoshi Kurosawa, starring Kōji Yakusho as a Tokyo Metropolitan Police detective named Kenichi Takabe investigating a string of murders by different killers that are only linked by the throats of all the victims being slashed with an X shaped incision.

(Spoiler Alert – Skip down to last paragraph to avoid spoilers and read recommendation)

Takabe and his partner the forensic psychologist Sakuma suspect that a powerful hypnotist is implanting the idea of the murders into each of the killers.  They track down a strange man named Mamiya that was present at several of the murder scenes.  He behaves as if he has no memory of his own identity or his history.  Sakuma has Mamiya committed to a hospital for observation.  Mamiya uses his hypnotic powers to learn the details of Takabe’s family problem from a hospital employee.  Takabe’s wife is seriously mentally ill and the stress of living with her is undermining his own mental balance.  Mamiya uses this information to torment Takabe during an interrogation.  Takabe begins imagining his wife committing suicide.  He has her placed in a psychiatric institution to safeguard her.

Next, we see Mamiya implant a murder suggestion in a young female doctor and shortly afterward she murders a man.  Afterward Mamiya even causes Sakuma to commit suicide.  Finally, Mamiya escapes from the hospital and Takabe who is now enraged against his tormentor tracks him down to an abandoned hospital and after being taunted by Mamiya shoots him.  When Mamiya’s last motion is to attempt to implant the murder suggestion in Takabe the policeman empties his pistol into the madman.

After killing Mamiya Takabe finds an old phonograph player in the hospital and listens to a recording that seems to be the source of Mamiya’s knowledge of the deadly hypnotic technique.  In the next scene we see the corpse of Takabe’s wife at the mental hospital with an X cut into her throat.  In the last scene we see Takabe in a restaurant finishing a meal.  As the waitress leaves his table, we see her walk over to a counter and grab a butcher’s knife.

This is a very strange movie.  And of course, since it’s spoken in Japanese that adds another layer of distance for the non-Japanese speaking viewer.  But the movie is quite compelling.  The Mamiya character is extremely unnerving.  Whenever someone attempts to interrogate him about his actions or even his history it always ends up with him turning the interrogation around.  The movie viewer develops a strong revulsion for the character.  He manipulates the interrogators and eventually implants his suggestion.  Because of this antipathy I felt a great sense of satisfaction when Takabe emptied his pistol into the homicidal hypnotist.

I’m not sure how to provide the recommendation for this movie.  My impression of this movie was definitely positive.  I did enjoy it.  But it’s such a strange movie that I’m having a hard time selecting what audience this movie is made for.  I guess we’ll have to start with audiences that enjoy crime dramas.  A somewhat similar type of movie might be “Silence of the Lambs.”  But added to that is the foreign language aspect which might be problematic for many viewers.  I guess I can only qualify this film’s audience with these two factors.  That will have to be my recommendation, as vague as it is.

The Shining (1980) – A Horror Movie Review

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I recently rewatched the movie “The Shining.”  This is the Stanley Kubrick film with Jack Nicholson and Shelley Duvall in the lead roles.  I saw this movie in the theater when it came out and I am a huge fan of the Stephen King book that it is based on.  In fact, I believe the book was the best thing King ever wrote.

Kubrick is a famous director and I’m sure the deletions from the book’s plot and the changes made were necessary to bring the movie into a reasonable length.  But making these changes makes the movie a different story from the book.  And that makes the book a much richer story than the movie.

That being said, “The Shining” is a great horror movie.  Jack Nicholson was born to play Jack Torrance.  And Shelley Duvall is Wendy Torrance from head to toe.  Watching Jack descend into madness you could believe that no ghosts were necessary.  All of it could be credited to a combination of writer’s block, cabin fever and a disastrous marriage.

But the supernatural aspects of the story are blended into the psychological situation flawlessly.  You really can’t tell where one aspect ends and the other takes over.  The conversations between Jack and Wendy on the one hand and Jack and his spectral associates are so intertwined that it’s obvious that the ghosts understand Jack better than his own wife does.

The plot is telegraphed early on when Jack is interviewing for his job as winter caretaker of the Overlook Hotel.  His employer ends the interview by revealing that a few years earlier a man named Delbert Grady who had taken on the job of winter caretaker had gone mad and chopped up his wife and two young daughters with an ax and then committed suicide with a shotgun.  His boss explained that living in the Overlook during the mandatory five-month winter isolation in the remote Colorado location had been known to cause “cabin fever” for some vulnerable souls.

Later on, Jack actually meets Mr. Grady when he shows up as a waiter in the spectral party that seems to run endlessly in the Overlook’s shadow world.  When Jack finds out his friend’s name he asks, “Weren’t you the caretaker here Mr. Grady?”  Grady claims to have no memory of that.  On being further prompted by Jack about his murders and suicide and Jack insisting, “You were the caretaker here.” Grady replies, “You are the caretaker Mr. Torrance, you’ve always been the caretaker here.”

And that’s the essence of how Jack’s destruction is accomplished.  The Hotel (in the person of Grady) plays upon Jack’s sense of failure and his resentment toward his wife and son because of the humiliating employment choices he’s had to make when he yearned to be a writer.  Now the Hotel plays up his importance and the trust that the Hotel has in his competence.  When the Hotel physically attacks his son Danny, Wendy tries to convince Jack to take them back to Denver.  Jack snaps and starts raving about his responsibilities to his employers.  But instead of meaning the owners of the hotel he’s talking about the ghosts.  And from there it’s only a short step to the ax and more murder.

I suspect most people have seen this movie and know the plot.  But I’ll stop there with the plot.  It’s too much fun to give it all away.  Suffice it to say that between little Danny’s gift (the “shining” of the title), the Hotel’s desire to possess Danny and that gift and Jack and Wendy’s deeply scarred marriage this is a powerful witch’s brew of supernatural and psychological horror.  In a later review I’ll tackle the book it’s based on.  And whether you read the book first or watch the movie I’ll leave it to you to decide.  But both are excellent within their medium.

Highly recommended.

(Strong Language warning for this clip)

Aliens (1986) – A Science Fiction Movie Review

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It’s a funny thing I had never seen Aliens in its entirety until today.  Somehow, I missed the first half hour of the movie and only came in when the main action was beginning.  So finally, I have the correct basis on which to judge it.

I won’t synopsize the plot because it’s an Alien movie so the plot is for Sigourney Weaver to outlive the rest of her fellow humans battling the aliens before ultimately jettisoning a xenomorph into the vacuum of space.

As in the original “Alien” movie Sigourney Weaver is Ellen Ripley a commercial astronaut who works for the evil Weyland-Yutani Corporation.  Fifty-seven years after the first Alien attack Ripley is discovered still in suspended animation in the shuttle craft that she used to escape the destruction of her ship the Nostromo.

The evil Weyland-Yutani Corporation was very unhappy about her blowing up their ship but when they find out that their terra-forming colony on the planet that the alien was found on has gone silent they send “space marines” and Ripley to fix things.  They also send Paul Reiser playing smarmy corporate yes man, Carter Burke to provide the requisite “greedy corporation wants xenomorph for bioweapon” subplot.  And finally, they throw in an android to show that despite what happened in the first movie, androids can be pretty swell people too.

And finally, to soften up Ripley’s Rambo impression, they throw in an orphaned little girl named Newt that Ripley rescues a few times over the course of the movie, proving that a modern woman truly can have it all.

So, the producers pull out all the stops.  Aliens are popping up everywhere in the industrial complex that serves as the venue for this first-person shooter game.  Bits of aliens and “molecular acid” are sprayed everywhere and one by one the marine platoon is picked off by the monsters.  Until finally we’re down to Ripley, Newt, android and the pick of the Marine crew, Corporal Dwayne Hicks played by the ever-popular Michael Biehn.  But during the final rescue of Newt on the planet Hicks is wounded by molecular acid and from then on, all the heavy lifting is done by Ripley.  Which she performs with panache, culminating in the above mentioned obligatory spacing of the mother alien (of course there’s a mother alien).

So, what did I think?  Well, I have some quibbles.  The plot contrives it that the marines can’t use their heaviest weapons because the industrial plant is a “thermonuclear” power plant and if any of their explosive charges rupture a heat exchanger line the whole plant will detonate.  Since it’s a cinch that all the colonists (except Newt) are already dead why are they bothering to throw away their lives in this death trap.  As Ripley so astutely recommended, “I say we take off and nuke the entire site from orbit.  It’s the only way to be sure.”  Also, they overdid it with the strong female characters and weak male ones.  Yeah, I know, I know.  “There’s nothing wrong with that.”  But honestly it is insulting and stupid.

But taken all in all the movie does provide an exciting action-adventure/science fiction/horror experience.  I won’t claim it’s my favorite but it is a worthy representative of its genre.  I will give it a recommended status.

The Dead Don’t Die (2019) – A Horror Movie Review

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Here is another movie for which I will not provide a spoiler alert.  This movie cannot be spoiled.  There’s nothing there to spoil.

For whatever reason, more than a few well-known actors and celebrities appeared in this ridiculous film.  The star is Bill Murray as Police Chief Cliff Robertson.   Adam Driver is Officer Ronnie Peterson, Robertson’s patrol partner.  Steve Buscemi is a farmer named Frank Miller.  Tilda Swinton is Zelda Winston, a samurai/funeral director/space alien.  Danny Glover is a hardware store owner.  Selena Gomez is Zoe, “a young traveler.”  Rosie Perez plays a tv reporter and Iggy Pop is a coffee guzzling zombie.  Carol Kane is a fat bloated drunken zombie who wants a drink.  And last but not least, Sturgill Simpson, who also sings the eponymous theme song of the movie (several times) is “Guitar Zombie.”  He is this by virtue of a guitar that is dragging behind his foot by the strings as he stumbles zombie-like through the night.

Most of the dialog is Murray and Driver speculating on the steadily increasing zombie body count in what I suppose is supposed to be the stoic tones of small-town cops.  They also break the fourth wall from time to time by mentioning what the script said would happen next.  And one strange character arc has Tilda Swinton interrupt her zombie slicing work to be picked up by an alien space ship and transported away.

The reason given for the appearance of the walking dead is that the Earth has “fallen off its axis” because of “polar fracking.”  Eventually, one by one, or in small groups all the townspeople are eaten by the zombies.  Finally Driver informs Murray that the movie ends with them dying while courageously fighting the zombies.  So, they get out of their squad car and get to it.  And not a moment too soon.

I’m not sure whether this movie had a script or whether the actors just extemporized.  There might have been a few moments that were mildly funny.  Steve Buscemi is funny even when he doesn’t mean to be.  But there aren’t many.  And by the middle of the movie, you’re just hoping it ends sooner than later.  But it doesn’t.  It goes on and on.  It’s a very long 103 minutes.

This movie must have an audience.  But that audience doesn’t include me.