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Showing posts with label Supernatural. Show all posts
Showing posts with label Supernatural. Show all posts

Tuesday, July 2, 2013

The Black Dahlia Haunting - Coming Soon to DVD and Blu-ray!


 Space Jockey Reviews has always been intrigued with the unsolved case of The Black Dahlia. So, of course, a movie titled The Black Dahlia Haunting is a no-brainer as an addition on the SJR watch list. What’s it about?  “While investigating the murder of her father by her blind younger brother, a young woman disturbs the vengeful spirit of Elizabeth Short, known in legend as “The Black Dahlia.” ~ IMDb

The film stars Devanny Pinn, Britt Griffith, Noah Dahl, Alexis Iacono, Cleve A Hall, Jessica Cameron, Sarah Nicklin, Daniel Murawka, and Brandon Slagle (also the director of the film). Set your rockets on a course to see this one today, and stay tuned to Space Jockey Reviews for a review…of course!  Rave reviews for this one are already as common and spectacular as the stars in the sky! The Black Dahlia Haunting hits stores in the U.S., on DVD and Blu-ray, August 6th!  In the meantime, check the latest “Official Full Trailer – Re-Upload.”

Also check out the interview with Alexis Iacono (The Black Dahlia herself), on Space Jockey Reviews!  It’s a superstellar experience you won’t want to miss!

Saturday, November 3, 2012

MAMA IS COMING!


Back in May, Space Jockey Reviews featured and reviewed a spectacular short horror film called Mama. At the time, the word was that Guillermo del Toro was in negotiations to produce a full-length horror feature for Universal Pictures, based on the same short film. I am happy to say that now the word is known to be true. Guillermo del Toro himself (the master of surreal imagination) is indeed directing the film, and production is well underway.

To wet the mouths of all you hardcore horror junkies, we have the first teaser trailer that looks to be as intense (albeit in a big hollywood way) as the original short film by Andres and Barbara Muschietti. If Guillermo del Torro's production is anywhere near as scary as the short film, then it should also be one seriously hair-raising treat of a movie. This Space Jockey for one cannot wait to see it!

Like the short version, the feature film is about two girls on the run from a ghostly demon of a woman, monster, or both who seems (or wants) to be their mother.  As the word was before, the girls had been lost in the woods for several years, before being rescued and adopted out to a well-to-do suburban couple. However, their rescue is only temporary! With mother (or whatever it is) still wanting to tuck them in bed, things get scary as $%&# pretty fast! How much more creepy can this get?  With Guillermo del Toro in charge, I’d say a lot!  And with Guillermo's out-of-this-world ability to put surreal dreams to film, I'd say the visuals here will be as much of treat on their own.

Nikolaj Coster-Waldau, Jessica Chastain, Megan Charpentier, and Isabelle Nélisse in a custody battle with Mama

The feature production stars Nikolaj Coster-Waldau, Megan Charpentier, Isabelle Nélisse, and Jessica Chastain. Jessica has also appeared in the award-winning drama The Help with Emma Stone, Viola Davis, and Octavia Spencer. The original short film stars Victoria Harris and Berta Ros. I cannot yet compare the performances of Megan Charpentier and Isabelle Nélisse as Victoria and Lilly to the performances of Victoria Harris and Berta Ros. However, I can say that the characters as portrayed by Victoria and Berta could not have been better, in the context of the short film. Only time will tell that, as well as how the movie itself compares to the short. Although longer is not always better, things do look promising here.

"When is the time?" you ask. It's January 18, 2013. Yes, it's a long time from now, but that could be good. Movies that are chucked out too fast can have problems due to being hurried. With nearly five more months to go, Mama has more than enough time  to grow into the biggest badass of a movie your horror-seeking self ever saw. For now, let's keep our nail-bitten, film-loving fingers crossed and hope for the best.

Below are a few more screen shots from the feature film! I won't explain anything, since the mystery makes it all the better anyway.




 For your viewing pleasure (and to compare the two) here's the latest teaser trailer from Guillermo del Torro, followed by the original short film by Andres and Barbara Muschietti. Enjoy! Just have a clean pair of shorts on standby! EPOs and restraining orders be damned! Mama wants her babies back!

For updates about Mama, stay tuned to Space Jockey Reviews!

Check out the full review of the original short film Mama by clicking here!

First up is the teaser trailer for the feature-length film from Guillermo del Torro!

 

The original short film Mama below stars Victoria Harris, Berta Ross, and Irma Monroig, Written and Directed by Andy Muschietti, Director of Photography: Sebastian Sarraute, Director of Art: Pancho Chamoro, Music by Gil Talmi, Produced by Barbara Muschietti. Enjoy!

 

Wednesday, August 15, 2012

THE MOCKINGBIRD


If you suddenly needed to care, selflessly, for another—a family member, or perhaps even a sibling who had once cared for you—giving up most of your life in the process, could you do it? Could you return, repay, or at least, “mock” the kindness given to you? Before you say yes, stop and think. Do you really know yourself so well? Are there, perhaps, demons hidden within yourself you’ve only yet to meet? The Mockingbird is a short film by Rick Gawel that makes us consider, in a not so comfortable way, the most extreme albeit possible outcomes of such a need.

On second thought, “not so comfortable” is actually far too mild to describe the way The Mockingbird goes about confronting us with such possibilities. Horrific is actually more appropriate. “How?” you ask. Let’s begin with the beginning. A woman moves down a hallway, half awake, on her back, with overhead lights flashing by; an oxygen mask on her face, suggests she’s headed for emergency treatment somewhere, surely in a hospital. But, no! She’s being dragged by her feet! Where she’s being dragged and what’s about to happen are things I’m not about to tell. Let’s just say that it makes the unpleasantness above only child’s play.


Madelyn Kennedy (Rebecca Steer) is a twenty-something woman suddenly confronted with the need to care for her sister, Evelyn (Melissa Malan). Evelyn is a once strong and independent woman robbed of her autonomy by an accident—one leaving her paralyzed from the neck down, condemned to a life of helplessness, confined to a bed. Evelyn is a prisoner in her own body, while Madelyn becomes a prisoner in her own home, haunted by commitment, guilt, and desperation.

What is most interesting about The Mockingbird is the in-your-face confrontation with transformation—deterioration into madness and the worst of what is human. With this change comes questions that involve us all; as viewers, we become as much a part of the story as Madelyn and Evelyn. Is the change the result of one susceptible individual becoming what few of us could? Or, are we too arrogant and vain to see the truth? Is it, instead, the result of forces grating on the senses to the point that any of us could become a monster? Is it, in fact, the rearing of an ugly nastiness, latent in us all, ready to spring forth and make us behave just as badly, beyond our control? Yes, what made me feel even more horrified was the thought of not really knowing myself—in the sense that inexperience makes it impossible. Setting aside what you think you know, and all of your most hopeful expectations, do you really know yourself? The Mockingbird makes us ask all these questions and more.

Rebecca Steer is an actress I have not seen before, but she plays her part as Madelyn with all the force necessary to give the movie its punch. Rebecca transforms her character from a pleasant, likeable woman, submissive, but otherwise “normal” on the surface. As the movie progresses, Steer shows her true talent by progressing her character accordingly, with impressive realism. Oddly, she makes Madelyn’s changes believable as much as they are bizarre and disturbing.

Before you think the part of a paralyzed woman cannot be difficult to play, think again. Melissa Malan has the challenging job of making Evelyn afraid, not with movement of the body, but only through looks on her face and terror in her eyes. Malan did this well enough to make me afraid just watching her; she made me feel as though I was, like her, unable to move, unable to defend myself, unable to do anything but be afraid. Without such a powerful performance as a bedridden character, The Mockingbird could not have been the success it is. Evelyn’s fear is a key part of The Mockingbird’s horror; Malan’s ability to communicate it to the viewer is what makes it real.


Director and editor Rick Gawel, along with cinematographers Tony Colon (and yes, Rick Gawel again), have created a horror film that stretches the boundaries of surreal cinema. As a reviewer, I must confess being partial to this type of film; however, with any objective view, The Mockingbird is a film that sets itself apart from others I’ve seen, visually as well as conceptually. Stark black and white, with strong highlights and high contrast, along with quivering overlapping images, gives the movie its surreal and most unique effect. Image shifts throughout intrude on the senses, unwelcome but imminent, forcing us, like Madelyn, to face the reality of human deterioration—physically as well as mentally. Bizarre camera angles make even reality seem unreal at times, helping to keep us unsure about objectivity, even when we assume it to be the case. With all the effects that Gawel and Colon deliver, the whole movie could be a nightmare…or so we think. Making us think again, however, we sense somehow that it’s not.

Added to these horrific visuals is a soundtrack that nearly drove me nuts—or should I say, as mad as the man in “The Telltale Heart.” Yes, I definitely should. A slow, pulsing repetition of noise (not music), grating on the nerves, making me want to turn it off. Before you think it’s a bad thing, think again. Like it or not, it’s a good thing here. This is a horror movie! Horrific, uncomfortable sound is delivered here with annoying perfection. I wanted it to stop, but it wouldn’t; I wanted to mute it, but I wouldn’t do that either, even though I could. Instead, I gave the movie every opportunity to make me uncomfortable; fitting with the story, it did that very well—as easily as a rope chokes a throat, a knife cuts the flesh, or any other thing causes pain, such as it does in The Mockingbird.

With the amount of special effects in The Mockingbird, no review could be complete without applauding Jenni Schenk—the one in charge of makeup and special effects. Blood and gore effects are not only copious, but just as copiously well done. Black and white, while toning it down, doesn’t allow for skipping quality…and Schenk doesn’t skip. With lesser talent, The Mockingbird might never have flown.

Never fear! There’s a lot more in The Mockingbird to fluff your feathers. There are nurses who draw blood—lots of it—and don’t wear shoes. Yes, they don’t wear shoes! Why? Who knows, but it’s another of the nightmarish details I like. Just like a dream, it just is. When it would make more sense for them to wear shoes, they don’t. There’s also a being with no name, possibly more important than we know. I can only guess who he might be. Do the same yourself, and see what you think. And, there are…well, lots of other things I won’t talk about here. Just watch the movie!


Oh! “What is the significance of The Mockingbird, as a title?” “What does it mean?” you ask? I’ll only say enough to be cryptic until you’ve see the movie. It is, I think, about punishment—how penance, in its most devastating yet effective way, is like a Mockingbird in its ability to imitate. The presence of such connections is another quality that makes The Mockingbird soar above the ordinary horror flick. There are metaphors to be found; rather than being disproved, they are talked about, living beyond the movie’s screen time, becoming something much greater.

The Mockingbird premiered at the Viaduct Theater in Chicago on August 6, 2011, as a part of the very first Herbivore Productions film fest—Herbi-Palooza 2011. It’s a 41-minute short film that packs all the punch of a full-length feature; it’s also the third film in Gawel's "Tortured Girl" trilogy. This is the first of these films I’ve seen, but, from the force of this one alone, I’ll be seeking out the others. The Mockingbird has style, scares, and suspense to spare, with surrealism that truly transcends reality—a Space Jockey favorite, easily!

With only one of Rick Gawel’s movies watched, I am already a fan of his work, looking forward to what else he produces. Herbivore Productions has found a unique niche in horror cinema; ironically, it’s at the top of the food chain in its niche, with not another plant eater larger than itself. At the heart of this herbivore is the human condition, haunting us with all its darkest possibilities. Is there a Madelyn lurking somewhere in us all? A possible horror for any of us of us is all the more horrific for all of us. With The Mockingbird, Gawel and Colon remind us of that, from beginning to end…from each bloody nightmare to every bloodier reality.

Starring Rebecca Steer, Melissa Malan, Joelle Weber, Kasey O'Brien, Steve Ruppel, David McNulty, and Brenda Arsenault, Directed and Edited by Rick Gawel, Cinematography by Tony Colon and Rick Gawel, Written by Melissa Malan and Rick Gawel, Produced by Brenda Arsenault, Makeup and Special Effects by Jenni Schenk, A Presentation of Herbivore Productions

Visit the Herbivore Productions website at www.herbivoreproductions.com
Visit Herbivore Productions on Facebook at www.facebook.com/HerbivoreProductions
Visit Herbivore Productions on Twitter at https://twitter.com/HerbivorePro

The Mockingbird Trailer


A Scene from The Mockingbird

 

Below is a great interview with actress Rebecca Steer who plays the part of Madelyn Kennedy. True to her character's condition, Rebecca is paralyzed and bedridden, complete with her oxygen mask. If you're not interested yet, check out the subtitled interview question! Enjoy! :)

 

Sunday, June 17, 2012

MISS FD: GOTHIC GREATNESS!


Yes, I know this is a movie review website, but I just had to make a small exception for this awesome artist and gorgeous girl of goth--Miss FD! Besides, her music video has everything to make an exception that...well...isn't really an exception at all. Miss FD is an out-of-this world, ten-rocket performer with everything she does, making videos that are much like movies anyway.

The song and video that just blew this Space Jockey's rockets beyond the stratosphere is one called "Love Magick." What a captivating song it is with, again, all the things that really make it fit right in here on Space Jockey Reviews. There are hungry zombies vying for Miss FD's love (or should I say, flesh), while she fights them off with hearts that explode and disorient them until...well, until they mindlessly fall in love all over again! (Yes, that's what I call real "undying love.")  It's also complete with bats, a full moon, and even a creepy castle in the background!  Did I mention that the zombies are dancing?  Yes, they are, and not doing a bad undead job of it either!  Great special effects and even acting tell a story with music that, again, fits right into any category here on Space Jockey Reviews! Technically, this video could even be called--without much of a stretch--a short horror film (wink, wink). Perhaps even a musical!  Yes, being the Editor in Chief does have its priviledges.

Miss FD is such a compelling damsel of darkness that she's even a no brainer choice for a mindless zombie. Watch Miss FD's video below, check out her stellar website, and follow her on Twitter as well. There are lots more great gothic gems to be found there! On the Space Jockey control panel, Miss FD's music is always set to launch!  I absolutely love "Love Magick." Enjoy!

Check out Miss FD's website by clicking here!

Check out Miss FD's Facebook page by clicking here

Check out and follow Miss FD on Twitter by clicking here

“Love Magick” is on Quantum Release Records. The video was directed by Adam Alvarez, with background illustrations by Josh Smith. 

Wednesday, March 21, 2012

GRAVE ENCOUNTERS


As Grave Encounters begins, a TV producer is being interviewed about a program that’s about to air.  He’s speaking very seriously, letting us know that, despite our doubts, this is the real deal, exactly as it was found, with nothing edited—except what was necessary for time constraints.  The program is episode 6 of a paranormal investigation show called, you guessed it, Grave Encounters.  The show stars Lance Preston—a slick, smooth-talking host, concerned more with the quality of his looks than the show.  He’s the type of guy who could sell a car as easily as host a show.

Lance (Sean Rogerson) is accompanied by three other pseudo-researchers—a camerawoman, Sasha (Ashleigh Gryzko), a cameraman T.C. (Merwin Mordesir), and a technical equipment manager, Matt (Juan Riedinger).  They’re all half-heartedly into the production, and, like Lance, seem more interested in hamming it up for the camera than finding ghosts.  Yes, it’s a team of paranormal researchers who don’t expect to find what they’re looking for; they don’t even believe in ghosts.  They just want the money that comes from producing such sensational shows.  Imagine that!  Already, we have the makings of a most realistic reality show.


Episode 6 begins with a slick, stylized opening, cutting to a sidewalk scene as unprofessional as it gets.  Lance Preson, without haste, sets the foundation for the evening’s events—a night locked in the Collingwood Psychiatric Hospital, reputed to be haunted!  Yes, you read that right—locked in a haunted hospital!  “Stupid!” you say?  Wait just a minute.  This is sensational, it’s about money, and these researchers don’t believe in ghosts anyway.

Collingwood Hospital, as we learn from the local historian, was built in 1885 and closed in 1963.  In 1948, it was the scene of a grisly murder; Arthur Friedkin, the head physician and resident lobotomist, was stabbed to death by several escaped patients.  This, along with the usual legends of atrocities, makes Collingwood Hospital the stereotypic, if not obligatory setting for episode 6.


To stress the money-minded priority to trump up terror, Lance bribes a newly-employed gardener into making up a ghost story.  There’s even the typical time-lapse scene of dark clouds rolling by, as darkness falls.  We’ve seen it in a thousand times in other movies, and Lance does it for exactly that reason.  He’s a cliché himself, willing to do anything that works.  Even without ghosts, Lance says “We just wanna make sure we can get some good scares.”

Next, in true reality TV style, we have the arrival of Houston Grey—the Grave Encounters psychic medium, there to verify and validate what could otherwise be ridiculous.  Houston is the typical but effective overwrought character whose cheesy appearance and comments are almost expected.  In sunglasses and dressed in black, he’s a caricature of himself, and he knows it.  As soon as he enters, he senses “a dark spirit or demon that you shouldn’t be messing with…at all!”  Oh what irony there is in his theatrics!


Grave Encounters makes an academic distinction between “residual hauntings” and “intelligent hauntings.”  A residual haunting is, so they say, “like an echo from the past, continuing to loop over and over again.”  An intelligent haunting is “a spirit that interacts and has intention,” even, as reported, causing people to be pushed, scratched, or thrown.  Further, we have the dreaded “full spectral apprarition.”  This is a ghost that appears in full, visible form!  Of course, we can only wonder which of these ghost combos may haunt Collingwood Hospital (wink, wink).

I admit that I began evaluating Grave Encounters on the basis of what I expected from a ghost-hunting mockumentary.  I expected ghosts that cause the occasional opening door, the sometimes out of place item, sudden cold spot, or noise in the night—the type of subtle scares that are slight to moderate, but always effective.  I expected what real ghost-hunting reality shows often find (or produce).  Was I ever wrong?  Yes!  Grave Encounters has the kind of ghosts that dish out what I call “hard haunting.”  (Yes, I coined a new term there!)  They are physical manifestations of intangible entities, ready and willing to kick the butts of all who dare to doubt.  They also take their sweet supernatural time doing it.  Just when we think this movie might be a subtle snoozer, the haunting kicks into high gear and never slows down.  Yes, there’s hardly time to hyperventilate between one demonic deed and the next!


As for exactly what happens inside the hospital, I’ll leave that for you to discover.  Don’t worry; there’s still plenty to see.  Or, maybe I should advise you to actually worry about that.   I’ll only say that there’s a whole host of horrors as original as any I’ve seen anywhere.  There’s a tongueless demon that, with the right exposure and screen time, could have been a new cult classic.  There’s also a “demon girl” whose credit name is far too generic for her originality.  She’s actually the scariest of ghosts you could see, if ghosts really ever look like her.    Yes, the types of ghosts you see in Collingwood Hospital are the types you don’t live to tell tales about!

Found footage films, in general, have the burden of making us think they are real.  Those about ghosts and other frightful things have the added burden of truly scaring us.  Their success or failure can be all about this and little more.  So, the obvious question is simple:  Is Grave Encounters real enough, and is it really scary?  My answer to both is like a “residual haunting.”  Yes, yes, yes, and yes again!   Its effect is “like an echo from the past, continuing to loop over and over again.”  “What criteria or rubric do you use to gauge the fear factor?” you may say.  I use the simplest of measuring methods—my gut reaction to what I see at the moment, as well as what I feel afterwards, when I should have forgotten most of it.  More than once during and after Grave Encounters, I second guessed the safety of the darkness around me.  I even, at least once, wondered whether the darkness may have actually moved, even when my common sense told me otherwise.  No.  It didn’t scare me to death.  I didn’t have nightmares, and it didn’t make me permanently dysfunctional, giving me some phobia that few can pronounce.  No movie could do that to me, so it’s not criteria for ratings.  However, I did look over my shoulder, at least a few times, to double-check a “residual haunting” from Grave Encounters.  So, for me, the movie passed the most important litmus test for found-footage ghost tales.  It scared me!

Grave Encounters avoids mistakes many movies make by, as I mentioned earlier, locking the group in the hospital, at their request.  It’s all done to add thrills, boost ratings, and yes, make more money.  They can’t get out, even if they want to; since they don’t believe in ghosts anyway, they can’t imagine they’d ever need to get out.  Even when the spirits are pissed, these paranormal pros are first looking for the pranksters, rather than looking for the money shot (or looking for a way to break the door down and get the #^% out).  The demons also do their part to keep the crew looking smart, while keeping them in danger at the same time.  (You’ll see what I mean.)  Many movies make the characters pass up an opportunity for escape, making them look stupid; this movie doesn’t.  In one scene, Sasha's response to Lance's bone-headed plan is possibly the smartest words ever uttered from a horror victim's mouth.  For keeping the characters smart, Grave Encounters gets a well-deserved extra rocket.


As for original aspects, the one that stands out most is an odd but very effective temporal anomaly upon which I won’t spend further time (pun intended).  I’ll only say that, as a coincidence (or so I think), this is oddly the longest review I’ve ever written.  Will it ever end?  What time is it?  Wasn’t it that time 8 hours ago!

As for acting, it’s excellent!  All actors do a professional job of making their characters seem as real as we’d expect ourselves to be in the same situation.  They all have distinct, overconfident personalities that they play well; they also show the necessary and believable breakdown of character we expect from people getting a paranormal ass-kicking.

“What about the gore?” you say.  It’s here, there, and everywhere!  Once you get used to the “full spectral apparitions,” you should have no problem with any of it.  For what is happening, it’s not overdone or underdone; there’s just the right amount of blood in the bloodbath, just the right amount being vomited, and just the right amount running from whatever places blood needs to run.  There’s even an animal killing scene that’s real enough to make you look for the “no animals were harmed during the making of this motion picture” disclaimer at the end, just to be sure.

The cinematography is of the frenetic, shaky-cam type—the clichéd but necessary trademark of found-footage films, like it or not.  Whereas this effect normally annoys me, I require it in these supposedly homemade films.  After all, it’s become a fact that people making such movies don’t know how to hold a camera without shaking it.  Try holding one while being chased by a ghost, and you’ve got a real excuse!  There’s also good use of the green, night-vision filming now available on most consumer-level cameras.  The greenish color alone is enough to make even the most benign of places look haunted.  I’d remove a rocket, if such a movie didn’t go green at least once or twice.

“What about the running time?”  I’m asking that question myself, since you probably won’t.  It could be just right, too much, not enough, or maybe not at all!  Therein again lies one of the most original things about Grave Encounters that may be even creepier than the ghosts!  Even though I’ve mentioned it before, it bears repeating for reasons I’ll leave unexplained again.  Don’t worry!  If you watch the movie, you’ll have plenty of time to think about it…or will you?  Or did you already?


Is Grave Encounters a perfect movie?  No.  It’s not perfect, but that’s never what I expect movies to be.  Is it close to perfect?  No.  But, that’s also not what I expect most movies to be.  Is it enough of everything it needs to be to do the job it sets out to do, while, at the same time, satisfying the average fan of such movies?  Again, like a residual haunting, I say “Yes, yes, yes!”  Grave Encounters is a kick-ass thrill ride, from beginning to end, with some of the most pulse-pounding premonitions this side of the solar system!

If you decide to watch Grave Encounters, don’t expect anything in particular.  Leave your preconceived notions about ghost-hunting reality shows at the steps of the haunted asylum you plan to enter.  Whether or not you think it passes the scare test on film, you’ll have to agree that you’d evacuate your bowels on the spot, if any such things ever happened to you.  Imagine, for a moment, that you aren’t in the safety of your home, on your couch, with your dog, or whatever makes you feel detached from danger.  Imagine, instead, that you are, like these sorry souls, in a haunted asylum with full spectral apparitions galore!  Imagine that these demons are ready to make you bleed, scream, and die in the worst of ways.  If you can be so humble, honest, and insecure, even for a moment, you might just find Grave Encounters making you more of the vulnerable little human you really are!   Sitting on your couch, you might even enjoy it!

Tuesday, March 13, 2012

DARK HOUSE


Dark House begins with three young girls riding bikes down a street that could be anywhere, towards a house you wouldn’t find anywhere.  The house is gaudy, Victorian, and more odd than scary, until we hear a scream from within!  Inside the house, one of the three girls—our future heroine Claire—finds over half a dozen butchered children.   She also sees the doer of the deed punishing herself in a bloodbath of bone-grinding, flesh-mincing, hard-to-watch...well, you get the idea.  But, since this is a horror movie, have we seen the last of her?  Probably not!

As for the butchered children, yes, you read that right!  Not every terror tale treads that tabooed road, but Dark House does it without a flinch.  Off camera as it is, it loses none of the shock it deserves.  If you are disturbed by such things, be forewarned ahead!  If you forget, the bloody toys in the opening credits should remind you.

In true horror movie form, we flash to Claire, 14 years later, still traumatized and messed up, with all manner of social dysfunction.  She’s seeing a psychiatrist with intentions to face her fears and thus rid herself of them, as the cliché always goes.  Will she go for it?  Of course!  How could we have a horror movie, if she didn’t?  It’s only the process that leaves room for originality.

As for the messed up Claire, it’s no wonder (only because it’s so common) that she looks so good being so messed up.  Heroines in horror films always look good, no matter what manner of hell they endure dodging death.  Meghan Ory (who plays the sassy, twenty-something Claire) is no exception to this tradition.  She’s candy for the eyes, no matter what—soaked in blood, panting with sweat, or wrapped in a straight jacket.  Meghan is a dark-haired, dark-eyed beauty who has trouble looking bad, no matter how bad things get.  Some horror heroines don’t have an excuse, but Meghan does!

So far, Dark House could be any other horror flick that, although delivering the gore, does little to stand out.  However, with the appearance of Walston Rey (played by Jeffrey Combs), things begin to change.  A true over-the-top horror character, stereotyped in all his roles, Combs always does the act that steals the show.  In Dark House, Combs plays a modern-day P.T. Barnum of high-tech horror amusements.  He’s eager to reestablish his place as the best in the business, with the money-hungry mind of a capitalist for fuel.  Therein lies the subject of our movie.  Dark House (the scene of the child massacre) is to be the foremost innovation in horror fun parks, “where people can die a thousand times and truly live.”  Walston has created 36 of the most successful horror attractions in the country.  I only wish so many places existed!

Dark House makes original use of one of the most overused ingredients in modern horror cinema—computer generated animation.  Numerous cameras throughout the house produce holographic albeit true-to-life images of monsters, murderers, and maniacs galore.  Wait!  There’s more!  That computer-generated ax, knife, or mace doesn’t disappear, until it’s halfway through your head!  Since real actors represent the holographic images, CGI in Dark House is mostly as perfect as it gets by default, if not by design.  Yes, it’s hard to go wrong when the cgi effects are real people!  However, when effects don’t look so good, they have the excuse of really being CGI in a funhouse.  How clever!


I’m not giving anything away to say that things go terribly wrong in Dark House.  Gigabytes of supernatural viruses infect spawns of cyber killers, causing flowcharts of movement to the depths of murder and mayhem.  No.  That’s not a quote from the back of the DVD case.  That’s just my cryptic way of spitting things out at the moment.  In other words, Dark House is, most simply and literally, technology gone to hell!

Speaking of murder and mayhem, it’s carried out by a most colorful coven of creatures.  There’s a Wraith (or she-ghost in need of a manicure) as scary as anything I’ve seen; there’s a killer clown scary enough as a killer clown, and a demented doctor who, let’s just say, didn’t take the hippocratic oath.  I could go on and on with these, but I’ll leave the rest for you to find yourself.  Be careful though, as these holographic horrors are set off by nothing more than fear.

As for other characters of the human sort, there are more than a few.   Ariel (Bevin Prince) is the buxom blonde, Rudy (Matt Cohen) is the would-be main squeeze of Claire and Ariel, Lily (Shelly Cole) is the enlightened girl in black, Bruce (Ryan Melander) is the resident wiseass, and  Eldon (Danso Gordon) is the too-cool-headed-in-the-face-death guy who never lasts long.  There’s also Samantha (Meghan Maureen McDonough) as the libidinous lesbian, giving the camera repeated reasons to look at Ariel’s buxom body.  All of these actors do a fine job of playing their part, as typical as it may be.  There is no bad acting; it’s just type characters who act, in real life, as badly as they are portrayed here.


Last but not least is the performance of the religious demonsess/zealot from hell, Mrs. Darrode (played by Diane Salinger).  This woman is the perfect person for the wraithlike role she portrays.  She is as much like the monster, in character, as anybody (or anything) else could be.  She turns a creature that could come off as funny into something that is truly scary.

How does this colorful collection of characters come together in just one tale of terror?  Is it fate, design, or forces too strange to know?  No matter how many times you scare me with a hologram, I’m not about to tell you here!

By now, I know you’re asking about the gore.  “Does it deliver the goods?”  Yes!  Director Darin Scott, with Douglas Dye accompanying him as the writer, know what type of movie this is; they step to the plate, hitting a homerun in that area, if not the others.  The death scenes are in the classic grand guignol style, being as graphic and naturalistic as necessary.  Real actors, props, and old-fashioned effects are used alongside CGI images that are sometimes more or less too obvious.  Real fake blood sprays and squirts along with cyber blood from scene to scene.  However again, since effects really are CGI, as part of the story, Dark House excuses itself without embarrassment.

Overall, I really liked Dark House.  It was much better than I expected, based on what I often expect from such movies.  Jeffrey Combs played his Herbert West caricature as fan service for all; all other acting was good enough to do the job, if not better.  The colors were vibrant, the gore was plentiful, the death scenes were creative, and the action was nonstop, after wasting little time to start.  Dark House was also not long enough to overstay its welcome.  With a brisk running time of 85 minutes, it’s hard to find time for boredom.  If you’re a fan of horror films that know their niche and deliver the goods, visit Dark House tonight.  Just don’t forget the popcorn!