CANDYMAN (August 2021)

CANDYMAN

(August 2021)

“Are you ready for the sacrament?”

The early ‘90’s pre-Scream period saw cinematic horror do some interesting things, like masquerade under the guise of tragic, inevitably doomed romances, its darker, malevolent streak secreted beneath the more palatable facades of love stories.
One such notable title is Francis Ford Coppola’s exquisite phantasmagoria, Bram Stoker’s Dracula (1992).
Another from the same year, is Bernard Rose’s Candyman.
 
“It was the projects. Affordable housing that had a particularly bad reputation.”
“You would never know.”
“Yeah, because they tore it down and gentrified the sh!t out of it.”
“Translation: White people built the ghetto, and then erased it when they realized they built the ghetto.”
 
Adapted from Clive Barker’s Books of Blood short story, “The Forbidden,” Rose’s Candyman transplanted the narrative’s action from England’s council estates to America’s housing projects, grafting themes of racism and gentrification (among others) onto the source material, like wallpaper of a very particular pattern laid over the original story’s structure.
Nia DaCosta’s Candyman has these same preoccupations, serving as both a deeper exploration of the original adaptation’s thematics, as well as a continuation of its central narrative.
 
“Some of the things that have happened in Cabrini over the years, violence just so extreme, so bizarre… It’s almost as if violence became the ritual.
“The worst part… the residents are afraid to call the police. A code of honor perhaps, fear of the police themselves…
“The easy answer is always, ‘Candyman did it.’”
 
DaCosta’s story (the screenplay is credited to her and co-writers Jordan Peele and Win Rosenfeld) revolves around Yahya Abdul-Mateen II’s Anthony, an up-and-coming artist badly in need of inspiration, which he finds in the gruesome urban folklore tale of the Candyman.

“I am the writing on the walls. I am the sweet smell of blood on the street. The buzz that echoes in the alleyways.”
 
Now, as is usual ‘round these parts, I’ll refrain from saying anything more in terms of the plot.
What I believe I can say though, is, just as Rose’s Candyman, despite appearances, didn’t play the way a “regular” slasher film does, neither does DaCosta’s.
And though there is a romantic component to the narrative, it isn’t as central as it was in Rose’s original, which was decidedly a love story, about the love between man and woman, between killer and victim, between deity and worshipper.
DaCosta’s take is more interested in community and legacy and who has ultimate control over society’s grand narrative, pulling its camera back so its lens can take in more of the macro, as opposed to the personal intimacy Rose’s dark love story evinced.
 
“When something leaves a stain, even if you wash it out, it’s still there. You can feel it, a, uh, uh, uh, uh, a thinning, deep in the fabric.
“This neighborhood got caught in a loop! The sh!t got stained in the exact same spot over and over ’til it finally rotted from the inside out!”
 
Ultimately, this new Candyman is a worthy successor to Rose’s original adaptation, and like it, is the kind of horror I treasure, the kind that has Something to say.
And DaCosta and company say it very well indeed…
So if this all sounds like horror to suit your tastes as well, then by all means, check it out…
 
And, oh yes…
Say his name…
 
“Yeah, yeah, yeah, who can take tomorrow,
Dip it in a dream,
Separate the sorrow and collect up all the cream?
Dip it in a dream,
Separate the sorrow and collect up all the cream?
The Candy Man…
The Candy Man can…”
--“The Candy Man”
   Sammy Davis Jr.

Parting Shot: Since the art world also plays a central role in its narrative, Velvet Buzzsaw makes an excellent double feature with this particular Candyman.

  
(Candyman OS’ courtesy of impawards.com.)

THE NIGHT HOUSE (January 2020)

THE NIGHT HOUSE

(January 2020)

TRICK IT, DON’T LISTEN TO IT
 
In The Night House--David Bruckner’s follow-up to The Ritual--Rebecca Hall plays recently widowed Beth Parchin, whose barely bottled-up anger at the sudden and initially inexplicable death of her husband gradually erodes in the face of a dark and sinister mystery.
 
It’s a testament to the skills and talent of Bruckner and Hall, as well as the elegant screenplay by Ben Collins and Luke Piotrowski (all four are also Executive Producers on this), that The Night House remains compelling and absorbing, as said mystery slowly unpacks itself over the course of the film’s running time.
 
It’s also a sneaky one, this, its largely serene and placid façade belying a cold cruelty beating at its core, the action onscreen the calm surface beneath which vicious riptides and undertows swirl.
Or, to use another apt metaphor, our eyes are drawn to the beauty of the structure, which only serves to mask the cold, blank hollows at its foundation.
 
This is quite possibly the most gently nihilistic horror film I’ve come across.
It doesn’t hold the audience’s hand, nor does it offer any comforting, yet ultimately hollow platitudes regarding existence and mortality.
 
If this sounds like the kind of horror you’re in the mood for, then by all means, please step into The Night House.
Just be sure to leave the door open, in case you decide on a hasty retreat…
 
“Makes you wonder though, doesn’t it? What else didn’t I know?”
 
Parting Shot:
The fact that architecture and geometric spaces play a not insignificant part in The Night House bodes well for the Hellraiser reboot Bruckner is currently in post-production on, from a screenplay credited to Collins, Piotrowski, and David Goyer (also, incidentally enough, a producer on The Night House).
Plus! Jamie Clayton as Pinhead!
 
(The Night House OS courtesy of impawards.com.)

OUT OF THE GUTTER (1) KADASIG: Walanghanggan Issue 1

OUT OF THE GUTTER (1)

KADASIG: Walanghanggan Issue 1
David Hontiveros / Romnick Magbanua

For the record:

In the Far, Far Away Time of the Long Ago, when Ian replied to my question of who was the bad guy he wanted Kadasig to face with "the Seven Deadly Sins", I had to give that a bit of a think.

Because I'd already previously done a version of the Sins in AVATAR.

 

During that period of consideration and deep dive research, the idea of leaning into elements like color and animal associations with the Deadly Sins seemed the way to go (since the approach I took in AVATAR was to anthropomorphize them).

In the end, I said "Okay," and The Septet came into being.

 

So while Magalit (Anger) is the Red Bear, Masakim (Greed) is the Yellow Frog.

(The full rundown of the Septet’s animal and color associations--as well as the reason why their names all begin with “Ma”--can be found in one of the in-between-chapters text pieces in the TATSULOK: A Vision of Dust compilation, art by the mighty fine Xerx Javier.)

 

Meanwhile.

 

When the idea of a demonic, sentient horror movie first came into focus, I immediately knew it would be an opportunity to nod towards a few of the subgenres that I feel a deep horrorhead affection for.

Thus, in issue 1, you have spotlights shined on giallo and the slasher films subsequently influenced by giallo, as well as the “disembodied killer hand” subgenre, as typified by Oliver Stone’s The Hand (an adaptation of Marc Brandel’s The Lizard’s Tail), Alfredo Zacarias’ Macabra (AKA Demonoid), Rodman Flender’s Idle Hands, and of course, Sam Raimi’s Evil Dead II.

(And though it’s a short fiction piece, it would be an insulting oversight if I neglected to mention Clive Barker’s “The Body Politic,” from Books of Blood. I haven’t had the chance to watch Mick Garris’ Quicksilver Highway, in which “The Body Politic” is adapted, so I have no idea if it does justice to the short story.)

 

But let’s step back and take a closer look at giallo, shall we?

When they hear the term, horrorheads will immediately think Argento, Bava, Fulci… but the term giallo originated from the world of literature.

And the meaning of the word giallo?

Yellow.

The term was used as a label for these pulpy mysteries and thrillers because the backgrounds of the book covers were uniformly yellow.

 

So, yes, I loved the serendipity of Walanghanggan also being about Greed (as per the long-standing Art Vs Commerce argument that has shadowed cinema since its inception), so that the story arc that featured giallo prominently within its narrative, would also happen to have yellow covers, like an old school giallo paperback…

 

Serendipity.

Mwah!

 

The next OotG post should be about DAKILA: Siyudad issue 2, and will probably go live at some point in the indeterminate future…

For now though, I should take this opportunity to note that one of the characters introduced in Siyudad 2 speaks with a font designed by none other than the mighty fine Edgar Tadeo, who drew the sh!t out of KADILIMAN: In Their Silent Shadow Carnival. (Hey, Ed! Howzit?)

 

Guess that’s all for now.

 

Stay safe.

Stay sane.

 

you can’t drink just six,

 

Dave

 

The new ‘Verse releases KADASIG: Walanghanggan 1 (art by the mighty fine Romnick Magbanua) and DAKILA: Siyudad 2 (art by the mighty fine Pyotr Mutuc), as well as 5 other previously released issues, are all available to order online at the Indies section of the Avenida website.

¡QUÉ HORROR! 2020

Candidate #7

AMULET

(January 2020)

“You think I know nothing of the world, you are wrong.
“The very worst trouble, secrets. The deepest pains of existence find their way into these walls.

“This is not a sanctuary.

“This is a crucible.”

In Romola Garai’s feature debut, Amulet, Tomaz (Alec Secareanu) is a broken soul haunted by his past. But an apparently chance encounter with Imelda Staunton’s Sister Claire brings him an opportunity to start anew.

But you should all know the drill by now.

This is a title that’s getting a ¡Qué horror! Candidate’s slot, so things will not be coming up roses for Tomaz anytime soon…

Lesson learned.

Do not trust Imelda Staunton!

“Evil must be contained…”

Amulet moves at a considered pace, so much so that it may lull you into thinking you know where the narrative’s headed. But when the true kookoo bananas horror stuff kicks in, the story becomes infused with an unholy urgency that sends it charging relentlessly towards a surreal climax of terrible beauty.

There are very welcome echoes of some of Clive Barker’s early Books of Blood work in Garai’s screenplay, but to say which would be telling.

Suffice it to say that Amulet is a brutal and nasty piece of work… with teeth…

“Ate well, didn’t you?

“Well, now it’s time to pay for your meal…”

(Amulet OS’ courtesy of bloody-disgusting.com.)

A Rundown of the 13 Best Horror Movies I've Seen in the Past Year

[10 of 13]

LAST SHIFT

(October 2014)

"I am safe in the arms
Of my master, my king,
On the last day, I will follow,

My soul, I will bring…”

Anthony DiBlasi has become something of a regular ¡Qué Horror! fixture ever since his excellent adaptation of Clive Barker’s Dread slotted itself neatly into the 2010 final rundown. (His Cassadaga was a 2012 Candidate. Additionally, he also Executive Produced Ryuhei Kitamura’s The Midnight Meat Train adaptation, which settled comfortably into the 2008 final rundown.)

He’s back ‘round these parts with Late Shift, where rookie cop Jessica Loren (Juliana Harkavy) is given her first assignment: be the sole officer on-site at a police station that’s being shut down in favor of a brand new one.

And since we’re here deep in this year’s final rundown, then you know that Jessica’s first shift on the job goes spectacularly awry as only one can in a horror movie…

It’s an interesting take DiBlasi has on the traditional haunted house set-up, where the protagonist spends a portion of the running time wandering the (supposedly) empty halls and rooms of the structure, while the weird goings-on begin to gradually escalate in frequency and intensity.

So, yes, the manner in which Last Shift unfolds will be familiar to the long-time horrorhead, but, there is also a lot to be said for a masterful execution of this kind of horror film, and Last Shift is a chillingly efficient take, with well-timed and disturbingly executed funhouse scare/set pieces strewn about the film’s nearly hour-and-a-half running time.

“Missy, if you can’t handle one night alone in an empty police station, then I think you picked the wrong line of work.”

(Last Shift OS and Blu-ray cover art courtesy of bloody-disgusting.com.)

¡QUÉ HORROR! 2015

Candidate #17

LAST SHIFT

(October 2014)

"I am safe in the arms
Of my master, my king,
On the last day, I will follow,

My soul, I will bring…”

Anthony DiBlasi has become something of a regular ¡Qué horror! fixture ever since his excellent adaptation of Clive Barker’s Dread slotted itself neatly into the 2010 final rundown. (His Cassadaga was a 2012 Candidate. Additionally, he also Executive Produced Ryuhei Kitamura’s The Midnight Meat Train adaptation, which settled comfortably into the 2008 final rundown.)

He’s back ‘round these parts with Late Shift, where rookie cop Jessica Loren (Juliana Harkavy) is given her first assignment: be the sole officer on-site at a police station that’s being shut down in favor of a brand new one.

And since we’re here hip-deep in this year’s ¡Qué horror! Candidate rundown, then you know that Jessica’s first shift on the job goes spectacularly awry as only one can in a horror movie…

It’s an interesting take DiBlasi has on the traditional haunted house set-up, where the protagonist spends a portion of the running time wandering the (supposedly) empty halls and rooms of the structure, while the weird goings-on begin to gradually escalate in frequency and intensity.

So, yes, the manner in which Last Shift unfolds will be familiar to the long-time horrorhead, but, there is also a lot to be said for a masterful execution of this kind of horror film, and Last Shift is a chillingly efficient take, with well-timed and disturbingly executed funhouse scare/set pieces strewn about the film’s nearly hour-and-a-half running time.

“Missy, if you can’t handle one night alone in an empty police station, then I think you picked the wrong line of work.”

(Last Shift OS and Blu-ray cover art courtesy of bloody-disgusting.com.)

A Rundown of the 13 (+1) Best Horror Movies I've Seen in the Past Year

[9 of 13]

THE LAST WILL AND TESTAMENT OF ROSALIND LEIGH

(October 2012)

After making a name for himself with the magazine Rue Morgue, and then scooping up a number of awards for his short films like “The Demonology of Desire,” Rodrigo Gudiño takes on the feature film with the impressively creeptastic The Last Will and Testament of Rosalind Leigh.

Essentially a one-man show, TLWaToRL features Aaron Poole (who can also be seen in fellow ¡Qué horror! 2013 title, The Conspiracy), as the estranged son of the titular Rosalind, who returns to his mother’s home in the wake of her passing, only to experience some slow-burn and creepily ambiguous horror. A disembodied Vanessa Redgrave--providing voice-over as the deceased Rosalind--adds a lot to the proceedings with merely the use of her pipes.

No less than Clive Barker gave this one his thumbs-up, so you would do well to check it out…

(The Last Will and Testament of Rosalind Leigh OS courtesy of impawards.com.)

¡Qué horror! 2013

Candidate #16

THE LAST WILL AND TESTAMENT OF ROSALIND LEIGH

(October 2012)

After making a name for himself with the magazine Rue Morgue, and then scooping up a number of awards for his short films like “The Demonology of Desire,” Rodrigo Gudiño takes on the feature film with the impressively creeptastic The Last Will and Testament of Rosalind Leigh.

Essentially a one-man show, TLWaToRL features Aaron Poole, as the estranged son of the titular Rosalind, who returns to his mother’s home in the wake of her passing, only to experience some slow-burn and creepily ambiguous horror. A disembodied Vanessa Redgrave--providing voice-over as the deceased Rosalind--adds a lot to the proceedings with merely the use of her pipes.

No less than Clive Barker gave this one his thumbs-up, so you would do well to check it out…

(The Last Will and Testament of Rosalind Leigh OS courtesy of impawards.com.)

¡Qué horror! 2012

Candidate # 23

CASSADAGA

(October 2011)

Anthony DiBlasi is familiar to ¡Qué Horror! territory from his past Clive Barker adaptations, The Midnight Meat Train (for which he acted as executive producer) and Dread (which he adapted for the screen, exec produced and directed). DiBlasi is back again, this time as director of Cassadaga.

In this one, deaf art teacher Lily (Kelen Coleman) moves to the “Psychic Capital of America,” Cassadaga, Florida, in the wake of a family tragedy. Hoping to find a new direction and purpose in life, Lily instead gets involved with some dangerous supernatural hijinx as a ghost makes its presence known to her, in an attempt to get some vengeance from beyond the grave.

On paper, it may sound like standard stuff, but it’s standard stuff handled well, and, believe you me, the marionette bits in here are mondo disturbo…

Parting shot: Dear Mr. DiBlasi, I’m still waiting on your Pig Blood Blues adaptation… I sincerely hope it’s still a project of on-going concern…

(Cassadaga OS courtesy of bloody-disgusting.com)

BOOK OF BLOOD
(Review)

“The dead have highways, running through the wasteland behind our lives, bearing an endless traffic of departed souls. They can be heard in the broken places of our world, through cracks made by acts of cruelty, violence, and depravity.
“They have signposts, these highways, and crossroads, and intersections, and it is at these intersections where the dead mingle, and sometimes, spill over into our world.”


For Clive Barker fans, the opening words which echo out from the black will be familiar, and for those diehards, I am extremely pleased to report that following Ryuhei Kitamura’s The Midnight Meat Train, John Harrison’s Book of Blood is another solid Barker film adaptation.
Based on the Books of Blood framing stories “The Book of Blood” and “On Jerusalem Street: A Postscript,” Harrison’s take follows visiting American professor and noted author, Mary Florescu (Heartbeat’s Sophie Ward), who investigates a purportedly haunted house in Great Britain, in the interests of her next book.
But when she asks for the help of one of her students, Simon McNeal (Jonas Armstrong, BBC’s Robin Hood), she sets off a chain of events that will bring her the long-sought after proof of the existence of the paranormal which she has been chasing after for the past decade.
And it won’t be a pretty sight.
Not at all.


Harrison and co-screenwriter Darin Silverman expand nicely on the pair of short stories, altering some motivations and personal histories in such a way as to enhance and reinforce the material for the purposes of this adaptation.
There’s much to be noted here, and Armstrong’s sad-eyed portrayal of the apparently “gifted” McNeal is one of the film’s central strengths, thankfully making up for whatever lack we may find in Ward’s Florescu.
Though her bravery in going starkers matches Armstrong’s commitment to his own role by freely dropping trou whenever called for, there’s still something seemingly tired and non-committal in Ward’s performance, which is quite probably the key drawback to Book of Blood; her iffy line delivery also slightly hobbles what could have been a stupendous opening. (Barker’s prose most definitely carries the day in that initial voice-over.)
Then again, Ashley Laurence wasn’t exactly Meryl Streep either, but that didn’t stop us from enjoying the first two Hellraisers, eh?
And if you still need a little convincing, Pinhead and Butterball* are in here too…


Though this is getting a theatrical release in other parts of the globe, that may very well not be the case in the USA. Sadly, even as Kitamura’s Midnight Meat Train got a bum American theatrical deal, Book of Blood (by virtue of it’s having been completed just as the global recession hit) is also looking like it’s going to have a major US cable launch this September, with a DVD release thereafter. There also could be a US theatrical release, though in late 2009 or even early 2010, via Lightning Media. (Whether wide or limited is still up for grabs.)
One can only hope that Anthony Diblasi’s upcoming Dread will have better luck in American theatres…
Till then though, this, along with Kitamura’s Midnight Meat Train now make for a nice double feature to celebrate the resurgence of Barker on the big screen.
Hurrah!


* Well, Doug Bradley and Simon Bamford, to be more precise.
And, having mentioned Simon Bamford, it’s rather appropriate that he has a role in the film adaptation, as Barker reportedly based the character of Simon McNeal on Bamford himself.

Parting shot: A review of The Midnight Meat Train can be found in the Archive.

(Book of Blood DVD cover art and images courtesy of shocktillyoudrop.com.)