House of Clocks (1989) Lucio Fulci Knows What Time It Is

Back again with another slice of horror, and after tipping my hat to Dario yesterday, I thought it only fitting to talk about the other big name in Italian horror, Lucio Fulci.. The Godfather of Gore's career was winding down by the late 80s after a disastrous turn directing Zombi 3, and I expect he readily jumped at a job making a pair of Made for Italian TV films. He made two for the series, today's film House of Clocks (La casa nel tempo) and The Sweet House of Horrors. While late in his career, this is a Fulci trying to regain his game, and he did such a gory good job they wouldn't air the movies. So these went straight to a video release, which is a real shame because Fulci indeed did know what time it was. it was time for one last shot of adrenaline in a career that had hit many stumbles. So, Fulci took a moment to roll back the clocks to an earlier sharper flavor whole keeping plenty of murder, mayhem, and killer geriatrics in the 1989 film House of Clocks.

The Jacket (2005): Adrien Brody Is Crazy About Time

Welcome to the first of two entries I’ll be making for the 30 Days of Crazy event being put on by Fletch over at Blog Cabins. With wall to wall insanity from a great collection of bloggers, it is truly an event you will want to check out. For my first film, I’m taking a look at 2005’s The Jacket starring Adrien Brody. Recently, Mr. Brody has become something of a Scream King with his turns in Predators, Splice, and Dario Argento’s Giallo. If you look back over his career, he’s always chosen strange little genre films, like appearing as a scientist in Mario Van Peebles Solo. Though he cemented himself in the public consciousness with Polanski’s The Pianist (2002), only three years removed from his Academy Award winning turn as the tragic ivory tickler, he took on the starring role in first time feature director Maybury’s thriller.

The Jacket stars Brody as Jack Starks, a Gulf War veteran who is sent to an asylum after being accused of shooting a police officer. His doctor, Thomas Becker (Kris Kristofferson), begins to use an experimental treatment on Starks, putting him in a straightjacket and closing him inside a morgue drawer. Starks begins to have experiences that he believes are travels fifteen years into the future to 2007 where he learns of his own impending death in four days. He also meets a girl, Jackie Price (Keira Knightly), whose past he affected when she was a child, and he uses the experiences going back and forth through time to change her future for the better.

The real question when it comes to The Jacket is what, as a viewer, you want to accept as real. Brody’s character at no time seems stable, and the film's events can be taken two ways. Either Jack Starks, an already damaged war veteran and possible cop killer, had a series of visions where he absolves himself of past wrongs by saving Jackie or Starks, an innocent man, traveled through time and did a good deed before he died. So either he’s crazy as a bedbug or the human equivalent of the letter in The Lake House.  Personally, I could see it both ways. The hopeless romantic in me wanted his quest to rectify the bad things that happened in Jackie‘s life, but my cynical side kicked in, and I left the film feeling sorry for Starks as he spent his last few moments with his mind escaping into a fantasy world.

Speaking of crazy, one of the most fascinating things I learned while looking into The Jacket was the connection to Jack London. I know. Right now, you’re probably saying, “That Jack London?” Yep, Mr. Jack “White Fang, Call of the Wild, boring your ass to death in high school” London apparently wrote some books that didn’t have even a little Yukon in them. His 1915 novel The Star Rover, known in the United Kingdom as The Jacket, was a fictionalized account of San Quentin inmate Ed Morrell’s experiences in solitary confinement. In London’s book, his hero is subjected to a torturous jacket while he is in jail, but when he enters a trancelike state, he can travel across space and time. Though three writers are credited with the film, London’s name was not mentioned. However in interviews promoting the film director Maybury credited the book as inspiration.

For a first feature film, Maybury, who had previously directed short films and videos for Cindy Lauper and Sinead O’Connor, puts in an impressive effort packing the film with visually appealing shots. He also gets some solid performances from his actors. Adrien Brody is the rock that the film is built on. I am generally interested in him as an actor, and he did not disappoint, plumbing the film’s emotional depths for all they were worth. He even went method on the role insisting that Maybury lock him in just like his character and film him with a locked camera. The result is right in the film. When an emotionally raw Starks loses it, you are actually witnessing the real breakdown that Brody had while dedicating himself to the role. Veteran actor Kristofferson provides some great menace as the diabolical doctor who puts the treatment to Starks, and Knightly performs well as the damsel in distress including one of the better American accents that I’ve ever heard her perform.

The Jacket did have a number of weaknesses, and one of them is that I only had three actors to bother mentioning in the whole of the film. Jennifer Jason Leigh, Kelly Lynch, Brad Renfro, Daniel Craig, Mackenzie Phillips, and Jason Lewis all make appearances, but none of them stuck out in my mind at all, and quite a few of them had the potential to make more of their brief appearances. I was also quite hard to follow at times, and I occasionally  needed a diagram to help me figure out what was happening. It added to the crazed atmosphere, but it did little to allow overall enjoyment. Altogether, The Jacket is a manic experience that lives up to being in a marathon of crazy films. It dabbles in interesting concepts, but it never can decide what it exactly feels about them. It wasn’t full of enough problems to put me in a straightjacket, but I was sure glad I had blog therapy to look forward to after.

That wraps it up for me, but don’t forget to check in with Blog Cabins for more Days of Crazy!

Bugg Rating

Triangle (2009): A Film that Would Make Pythagorus Give Up Math

As a general rule, no one likes making the same mistake twice. Most people tend to try and better themselves and break free of destructive patterns, but sometimes they are too strong and pull us back in time and time again. At the core, that is what Christopher Smith’s 2009 film Triangle explores. I’ve had this film on my radar for a while as well as Smith’s other well known film 2006’s Severance, but until now, I haven’t had a chance to fit one of them into my viewing. I can practically guarantee that now I will be going back to look over his whole filmography and anxiously await the 2010 release of his new film Black Death. Before I get into talking about Triangle, I want to stress that I am going to desperately strive to make this a spoiler free review, but this film is going to be very tricky to discuss. However, I would not want to ruin a second of this film for anyone who hasn’t seen it. For those of you who have, I would love to discuss it in the comments section.

Seeing as the film is called Triangle and it has to do with boating, the Bermuda Triangle of course springs to mind quite quickly, but the film never expressly states it has anything to do with that mysterious area though from the events that unfold it is easy to assume that it does. More plainly the film gets it name from the boat ‘Triangle’ where single mother of an autistic child Jess (Melissa George) is meeting Greg (Michael Dorman) and four other friends for an afternoon pleasure cruise. Their day at sea comes to an abrupt halt when the wind suddenly dies out, and the tiny yacht is rocked by an electrical storm that moves in from nowhere. The five survivors are set adrift on the upturned boat until a massive cruise liner named the Aeolus appears from out of nowhere. They find the ship empty, but soon someone is trying to kill all of them leaving only Jess alive to fight the masked gunman. After Jess battles the killer off the side of the ship, she hears cries from off the bow of the ship and sees herself and her friends climbing aboard the Aeolus again.

I think that is about all I could possibly say about the plot without venturing into spoiler territory. Triangle is a film that could concern time travel, mental breakdowns or schizophrenia, or a damnation of the sort not seen since the Greeks got their hands on the idea of eternal punishment. I say that it could concern all of those things because honestly, after a single viewing, I can’t say for certainty which of those that it derives more of an inspiration from. The film that I’m sure Triangle will be most compared to is Timecrimes, which is in and of itself a befuddling experience in time travel. However, I think there is little comparison beyond killers with a bag over their head. Both films play with the perception of time, but where Timecrimes all but spells out the whys and hows of the events that occur, Triangle leaves much up to the interpretation of the viewer. Overall, a fairer comparison could be made to The Shining, a film that clearly influenced Mr. Smith.

That being said, I want to make it clear that Triangle is not a film to put on while you’re clipping coupons or diddling around with your Facebook. It requires your undivided attention to detail so it can unfold its story. Nearly every detail in the film is important, and the more intently you watch it, the more rewarding the outcome of the film will be. Christopher Smith doubled as both the writer and director of Triangle, and on both fronts he made a film that stands up with some of the best edge of your seat thrillers. Each time I thought I had this film figured out or trapped in its own created paradoxes, I soon encountered either an explanation or another mystery that I could not wait to see unfold. Very seldom do I use the word ’rapt’ to describe how I felt during a film, but this time it seems to suit both my response and the film quite perfectly.

While the scripting and direction (which I have more to say about later) were both spot on, none of it could have been possible without the powerhouse performance of Melissa George. The Australian born actress has made several noteworthy appearances before in films like Mulholland Drive, Turistas, and 30 Days of Night as well as runs of TV in shows such as Grey’s Anatomy and In Treatment, but I find it hard to believe she has ever given such an emotional and gripping performance as in Triangle. Her character Jess is the only constant throughout, and while all the actors are fine, we get to know very little of them. Jess is the core of the story, and as such, Ms. George carries the weight of the whole film on her back. If we are to believe the events transpiring or really get tied up in it, we must sympathize greatly with her character. I found it very easy to do, and that might well be the best trick the film has to offer.

I said I wanted to say more about Chris Smith’s directing, and I don’t want to make a liar out of myself. I haven’t seen a movie this tense that unfolds in the light of day since I sat down to watch And Soon the Darkness some time ago. From the sun-drenched decks of the Aeolus to the bowels of the engine room, Smith creates a heavy atmosphere that is pervasive and smothering. While there are a few nifty camera tricks thrown in, they were not distracting at all, and if anything, they added to the story immensely to illustrate to the audience what was going on without ever needing to explain it. In fiction writing, a common piece of advice is to “show, don’t tell”, and Triangle should be at the top of the list for how to do that right. Even when there is exposition, of which there is little, it only adds to the layers of the story rather than holding your hand.

If I had made a best of 2009 list (and seen this in ’09 for that matter), I have a sneaking suspicion Triangle would have taken one of the two top spots. I can’t rightfully say it was the best film of 2009, but it is by far the best film I have seen in quite some time. From top to bottom this is a film that deserves the attention of any film lover. I know that in a couple of days after I let it sink in; I’ll be ready to see this one again. That my friends would be no repeated mistake, but another chance to spot more clues, to derive more meaning, and to be thrilled once more by a film that far exceeded my expectations. So if you feel like you’re caught in a destructive cycle of crap films (maybe you watched Nightmare on Elm Street 2010), then break the pattern and track Triangle down so you can break free.

Bugg Rating 

Multi-Monday Travels Through Time to Spain Where I Shiver at the Sight of a Werewolf

It’s Monday again so that means another roundup of my weekend watches. This weekend I had some time to catch up a few that I’ve been meaning to see, and so I decided to focus my viewing on a particular country. So, I packed my cinematic bags for a trio of pictures from the Spain. Because while the rain there may fall mainly on the plain, the blood seems to flow wherever you go.

First up, I finally sat down with Timecrimes. (Or in Spanish Los cronocrimenes) from 2007. Writer/Director Nacho Vigalondo definitely used a subtle hand in creating this tightly woven tale of time travel, and he delivered an entry into the time travel sub-genre which should stand the test of time. The plot revolves around Hector (Karra Elejalde) who spends his time watching the woods though binoculars. One afternoon he spots a naked girl in the forest, and when he goes to investigate, he is stabbed by a man in an overcoat with a pink bandage wrapped around his head. Hector flees and ends up on a compound where a man (played by director Vigalondo) convinces him to hide in a tank. When Hector emerges from the tank he finds himself a few hours back in time, and he leaves to investigate the events that lead up to his time traveling.

Timecrimes escapes the usual traps of time travel movies by taking the time to make every little detail stand out. Now, I’m sure if you picked apart the film with a fine tooth comb you could come across an inconsistency or two, but I think you’d likely really have to nitpick. Most time travel scenarios don’t make sense because, as we all know, if you change the past, it changes the future. Timecrimes’ premise revolves around that very fact, and in doing so delivers a very smart film. It is unfortunate that the film is often labeled a horror movie as it is more of a thriller at its core.

I would love to talk more in depth on this film, but I fear that if I say anything more I'm venturing into spoiler territory. Suffice it to say that the film will surprise you. Like any other foreign horror flick that does moderately well, Timecrimes has been slated for an American remake with Vigalondo remaking his own film. I worry that some of the subtly of the film will be dumbed down for a US audience, but if the right actor is cast in the lead then it might work. (I would love to see someone like William H. Macy get the part.) Before it’s remade, I highly recommend you check this one out if you have a chance, or should I say, if you have the time.

Bugg Rating

Next up is Shiver (Spanish: Eskalofrío) from 2008. Director Isidro Ortiz began his career with a retooling of the classic legend of Faust with 2001’s Fausto 5.0 that made some waves with the addition of graphic violence and nudity from an underage girl. Shiver is a bit tamer by comparison, and some have said that it took its inspiration from the J-horror trend.

Shivers stars Junio Valverde as Santi, and many horror fans may recognize him from Guillermo del Toro’s 2001 film The Devil’s Backbone where he also played a character named Santi. This Santi is a misanthropic kid who has a condition that makes him very photosensitive, and he must avoid sunlight or other bright lights whenever possible. In order to help him lead a more normal life his mother (Mar Sodupe) moves him to a little hamlet in Northern Spain where the sunlight is less intense, allowing Santi to go out during the day. As soon as they arrive, the sleepy little town begins to be plagued by murders, and weird new kid Santi always seems to be around when they happen. The police soon begin to suspect Santi of the murders, but he’s more concerned about not being killed next.

Shiver is a good looking film with some nice camera work, and they give the little town a good little creepy vibe. However, the film falls flat by not allowing suspense to build nearly long enough. The reveal of the mystery (or the killer at least) happens at the beginning of the second act, and left the rest of the film feeling a little deflated because of it. If they had drawn it out even just a bit more, then it might have been a much better film for it. I wanted a little more “is he or isn’t he” on the werewolf/vampire angle the film hints at in the early scenes. As it stands, it is a well acted and well shot film that is still miles ahead of recent teen horror fare like the Prom Night remake or The Haunting of Molly Hartley.

There is one other thing I should mention. Once again, Ortiz uses an actress of a very young age in some nude scenes. They are not sexually graphic scenes like those in Fausto 5.0, and I would have a hard time believing anyone would find it titillating. The footage is reserved and shadowed, and I have to admit that this time it was a necessary part of the plot of the film. That being said, I thought it would be worth mentioning as it will likely strike some viewers as either unnerving or unacceptable.

Bugg Rating

The last film in the trio of Spanish chillers comes from the man whose name is often synonymous with the county’s horror output. I’m talking Paul Naschy here, and I haven’t had a chance to see another of his films since way back when I covered Fury of the Wolfman last November. So when I decided to go on this Spanish horror binge I had to dust off my copy of Werewolf Shadow (Spanish: La noche de Walpurgis) the forth lycanthropic outing from Naschy. This time we’ve not only got Larry Talbot’s relatives involved there are also bloodsuckers and lesbians to boot!

Gaby Fuchs stars as Elvira, and along with her friend Genevieve (Barbara Campbell), she has traveled to Northern France to do research for their final thesis. They are investigating the Countess Wandesa Darvula de Nadasdy, an ancient witch/vampire who kept her beauty by drinking the blood of virgins. That is until her suitor found out and killed her with a silver cross to the heart. As the girls travel, they get lost and end up asking the help of Waldemar Daninsky (Paul Naschy), who is, unbeknownst to them, a werewolf. Daninsky escorts the girls to the site of the Countesses’ burial, and Elvira accidentally removes the silver cross bringing the witchy vamp back to life. Very quickly, things are set in motion that lead to an epic struggle of werewolf versus vampire.

After the Spanish success of Romero’s Night of the Living Dead, entitled La noche de los muertos vivientes, there was a high demand for ‘La noche’ titles with films like de Ossorio’s La noche del terror ciego (Night of Blond Terror), Franco’s La noche de los asesinos (Night of the Skull), and Naschy’s La noche de Walpurgis finding their way to the screen. The title of Naschy’s film refers to Walpurgis, a holiday inherent to central and Western Europe which falls on April 30th. Walpurgis has its roots in pagan traditions, and one of its main customs is to light bonfires to scare away the dead that roam the Earth before the first day of May brings the light of the spring. When the film was brought to America, it was marketed under several titles including The Werewolf vs. The Vampire Women, Blood Moon, and the grammatically incorrect Werewolf Shadow.

When Werewolf Shadow was released in Spain, it became Naschy’s biggest hit to date, and the film would mark the first collaboration between writer/actor Naschy and director Leon Klimovsky. They would pair up another seven times in their career for some of Naschy’s most memorable films. Naschy as usual does a fine job in his oft repeated role as Waldemar Daninsky, and makes the werewolf afflicted man the proper balance of tortured and animalistic. The showdown at the end of the film between the wolf and the resurrected vampire countess is not to be missed. For his part, director Klimovsky does a fine job, but the movie has very little flash or style to it unlike its Italian contemporaries.

In fact, one thing that stuck out like a sore thumb was how utterly horrid the costuming for the ladies in the film was. The countess and her outlandish lesbian vampire gear aside, the fashions on display were entirely unflattering to either of the female leads. While Barbara Campbell’s Genevieve does finally get some decent clothes, Gaby Fuchs’ Elvira wears an array of the most formless, sacklike clothes that I’ve seen in quite some time, and no one with a name like Elvira should ever look that bad.

I’ve only seen maybe four or five of Naschy’s prodigious film catalog, but I found Werewolf Shadow to be one of the better of Paul’s lupine flavored films. His films are almost an acquired taste with a high tolerance for cheese being required before you can just enjoy the film. If you can accept it on face value for what it is, then you will surely have an enjoyable time with it.

Bugg Rating

So there we are a trio of films to satisfy any kind of craving you have for a Spanish thrill or two. As usual, the trailers are below and I hope uou join me back here tomorrow for another installment of Terrifying Tuesday!