ANTLERS (October 2021)

  

ANTLERS

(October 2021)

“Yeah, he said he was, uhh, hiking up near Greymouth, when a stench led him to a man half buried in the woods. I guess the other half was found in the mine, near a meth lab. Was probably a, a bear or a cougar, something.”

“Jesus.”

“From what he just told me, I don’t think Jesus was anywhere to be found.”

Guilt-ridden Julia Meadows (Keri Russell) finds herself back in her hometown of Cispus Falls, Oregon, still trying to “resolve” her lifetime of “issues” (which reveal themselves gradually during the first act, proving her own terms blatant understatements).

It’s a place she admits she barely recognizes anymore, an economically depressed mining town, in the midst of a so-called “war on American energy.”

But, given that this is a horror movie co-produced by no less than Guillermo del Toro*, it should come as no surprise that there are even darker (and bloodier) things afoot.

“Daddy said God is dead.”

Director Scott Cooper (working from a screenplay credited to C. Henry Chaisson, Nick Antosca, and Cooper, based on Antosca’s short story, “The Quiet Boy”) gives us a horror film that isn’t just about literal, supernatural monsters, but also the kinds of monsters that lurk behind the unassuming masks of men.

While the “Creature”** is, naturally, the main attraction, Antlers is also about generational trauma, and the tragic and grotesque scars left behind by abuse.

It’s about “the lost, the frail, and the depraved”.

“I just have to feed him, and he’ll love me.”

There’s also an interesting supporting cast here, with the likes of Jesse Plemons (as Julia’s brother, Paul, who also happens to be Cispus Falls’ Sheriff), Amy Madigan, Graham Greene, and Rory Cochrane.

Sadly, three of the above mentioned are relegated to either Exposition Delivery, or those sad, thankless horror movie roles that ultimately underutilize the actor.

You can’t win ‘em all, I guess.

Still, Antlers is most definitely worth a look.

I came to it because of the lure of Antosca***, del Toro, and Felicity herself, and was, in the end, happy I did.

Check it out, if you’re so inclined, and maybe you’ll be glad you did, too…

Will you, I pray, demand that demidevil

Why he hath thus ensnared my soul and body?

--Othello

   Act V - Scene II

* David S. Goyer is another co-producer.

** For my fellow comic book nerds out there, the one and only Guy Davis is credited for Lead Creature Design, as well as a bunch of drawings that appear onscreen.

Davis is also the main Creature Design dude for del Toro’s Cabinet of Curiosities, and has worked with him on a whole bunch of past productions…

In del Toro's own words: “Guy Davis, to me, is one of the best monster designers alive right now.”

*** And, speaking of, those, ahem, antlers on the one sheet should remind you of another thing Antosca worked on, that should in turn, tip you off as to the nature of Antlers’ Creature…

(That other thing is also to be found in the Iguana Archives.)

Parting Shot 1:

The short story “The Quiet Boy” can be read online here.

My personal recommendation is, if you haven’t already read the story but are curious to see the original source material, then check it out after you’ve seen Antlers.

Parting Shot 2:

In Antlers’ end credits roll, Christian Bale is one of the names under “Special Thanks”.

Cooper has worked with Bale on three films to date, the latest, the Netflix adaptation of Louis Bayard’s The Pale Blue Eye.

Looking forward to that one…

(Antlers OS courtesy of impawards.com.)

THE VIGIL (September 2019)

THE VIGIL

(September 2019)

For thousands of years, religious Jews have practiced the ritual of “the vigil”.

When a member of the community dies, the body is watched round the clock in shifts by a Shomer, or watchman, who recites the Psalms to comfort the deceased’s soul and protect it from unseen evil.

This watchman is typically a family member or friend, but there are paid Shomers.

Hired to sit the vigil when no one else can.

And this is exactly the situation Yakov Ronen (Dave Davis) finds himself in.

Struggling with the rent, finding himself “… having to choose between medication and meals,” Yakov expects a vigil like those he’s sat before.

Which, of course, is so not what happens to poor Yakov…

The Vigil is writer/director Keith Thomas’ feature debut* and it’s a tight, expertly crafted film, as cramped and oppressive as the Litvak home, in whose dim rooms and shadowed halls Yakov must face the terrible weight of his guilt.

“He was broken by memories. Hmm! Those kind of memories that you saw. They bite. They bite and the biting never stops.”

* Which he’s following up with not just the Firestarter remake, but an episode of Guillermo del Toro’s Cabinet of Curiosities anthology as well…

(The Vigil OS courtesy of impawards.com.)

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

THE AUTOPSY OF JANE DOE

(September 2016)

"Mommy told me something a little girl should know.
It’s all about the Devil and I’ve learned to hate him so.

She said he causes trouble when you let him in the room.

He will never ever leave you if your heart is filled with gloom.”

--“Open Up Your Heart”

The body of an unidentified young woman found under strange circumstances is brought in to the Tilden Morgue & Crematorium, where father and son Tildens, Tommy (Brian Cox) and Austin (Emile Hirsch) set about to uncover cause of death.

But this is far from a cut and dried post mortem, as the Tildens soon discover…

The Autopsy of Jane Doe is a rousing “Welcome Back!” for director André Øvredal (who was last seen ‘round these parts in the 2011 ¡Qué horror! rundown, with Trolljegeren).

This time though, there are no amusing, humorous chuckles to be had. This is dark and disturbing stuff, courtesy of a script by Ian Goldberg and Richard Naing, which is, honestly, a welcome surprise.

Familiar with some of Goldberg’s work on Once Upon a Time and Dead of Summer (for which Naing also wrote an episode), I hadn’t expected him capable of horror of this grimness. I’m glad to be divested of that impression.

So effective is the film that no less than Guillermo del Toro (“A fun, stylish, beautifully built funhouse of horror!”) and Stephen King (“Visceral horror to rival ALIEN and early Cronenberg. Watch it, but not alone.”) have sung its praises.

¡Qué horror! can do naught but agree…

“Whatever the hell happened in here… we are way past possible.”

(The Autopsy of Jane Doe OS’ courtesy of bloody-disgusting.com & mondotees.com.)

¡QUÉ HORROR! 2017

Candidate #13

THE AUTOPSY OF JANE DOE

(September 2016)

"Mommy told me something a little girl should know.
It’s all about the Devil and I’ve learned to hate him so.

She said he causes trouble when you let him in the room.

He will never ever leave you if your heart is filled with gloom.”

--“Open Up Your Heart”

The body of an unidentified young woman found under strange circumstances is brought in to the Tilden Morgue & Crematorium, where father and son Tildens, Tommy (Brian Cox) and Austin (Emile Hirsch) set about to uncover cause of death.

But this is far from a cut and dried post mortem, as the Tildens soon discover…

The Autopsy of Jane Doe is a rousing “Welcome Back!” for director André Øvredal (who was last seen ‘round these parts in the 2011 ¡Qué horror! rundown, with Trolljegeren).

This time though, there are no amusing, humorous chuckles to be had. This is dark and disturbing stuff, courtesy of a script by Ian Goldberg and Richard Naing, which is, honestly, a welcome surprise.

Familiar with some of Goldberg’s work on Once Upon a Time and Dead of Summer (for which Naing also wrote an episode), I hadn’t expected him capable of horror of this grimness. I’m glad to be divested of that impression.

So effective is the film that no less than Guillermo del Toro (“A fun, stylish, beautifully built funhouse of horror!”) and Stephen King (“Visceral horror to rival ALIEN and early Cronenberg. Watch it, but not alone.”) have sung its praises.

¡Qué horror! can do naught but agree…

“Whatever the hell happened in here… we are way past possible.”

(The Autopsy of Jane Doe OS’ courtesy of bloody-disgusting.com & mondotees.com.)

¡Qué horror! 2015

Candidate #7

THE TAKING OF DEBORAH LOGAN

(October 2014)

The following film includes a partly edited medical documentary, outtakes, and surveillance footage from the scenes of the crime.

Adam Robitel’s feature debut takes the real life horror of Alzheimer’s disease and mashes that up with some supernatural goings on to produce a potent title in The Taking of Deborah Logan.

Here, medical student Mia Hu (Neighbours’ Michelle Ang) sets about centering her PHD Thesis film on the titular Deborah Logan (All My Children’s Jill Larson), hoping to document the effects of the disease, not just on Logan, but on her daughter Sarah (Anne Ramsay, from Mad About You and The Secret Life of the American Teenager), as well.

While there are some heavy hitters in the mix here (the film is produced by Bryan Singer--the closing credits actually declare it a “Bryan Singer Presents” production) and some familiar genre figures are thanked in the end credits roll (Bryan Cranston, Guillermo del Toro, Michael Dougherty, James Wan, to name some) the onscreen MVPs here are definitely Larson and Ramsay, who ground the proceedings in a very real mother-daughter relationship, warts and all.

“I do all my little puzzles. I do crosswords. I’m lifting weights. I am doing everything that I… I have read will help to stave off the progression of this disease. Stave it off! There’s no cure. And so, when I am in the middle of something and suddenly, my mind just… leaves the premises…. There are no words to describe how distressing it is.”

Much of the potency of the film is rooted in the awful deterioration that sets in with Alzheimer’s, and as the narrative unspools, there are shades of The Exorcist, in that we are also witness to the horror when modern medicine finds itself unable to deal with a patient’s condition, when the doctors are just as in the dark as the besieged victim and family.

There is also at least one instance of a quick cut “subliminal,” again, ala The Exorcist.

Admittedly, the title mines all that it can from the horror movie idea of the Creepy Old Lady, which is sadly quite unfair to all the Nice Little Old Ladies out there, but the end result is nonetheless an effective little found footage-y humdinger.

(The Taking of Deborah Logan OS courtesy of cineemcasa.com.)

¡Qué horror! 2014

Candidate #13

HANNIBAL Season 2

(February 2014)

So, yeah, in a year that had some strong potential TV horror entries, no one could touch Hannibal.

True, Bryan Fuller’s exquisitely constructed mix tape adaptation of Thomas Harris’ serial killer novels was on its sophomore season, while most of the other TV horror contenders were freshman series, but hey, it managed to tie with Les Revenants for a ¡Qué horror! slot last year, and they were both freshmen shows back then…

As we inch ever closer to a third adaptation of Red Dragon and the tantalizing possibility of a television rendition of The Silence of the Lambs (with Agent Schmarice Schmarling, if MGM can’t be bothered to play nice), Fuller and company continue to stage the most elegantly audacious and horrific serial killer scenarios this side of American network television.

If you haven’t gotten a, ahem, taste of Hannibal, you really ought to…

Parting Shot 1: For the record, the other horror series I hoped would be contenders but ultimately weren’t are:

Salem – honestly, a lot better than I thought it would be. A pleasant surprise (with a kickass opening title sequence orchestrated to a Marilyn Manson ditty) that still has some issues which, hopefully, will get resolved in its sophomore run.

Penny Dreadful – I absolutely love the first two episodes (directed by J.A. Bayona and shot by Xavi Giménez), but subsequent episodes don’t quite come up to that opening, impressive level.

Again, some issues need to be worked out… having Bayona and Giménez on board for all of Season 2’s episodes would be an awesome start!

But, barring that, I’m still stoked to hear that we get more of odd duck Egyptologist Ferdinand Lyle, as Simon Russell Beale is reportedly being upgraded to series regular.

Huzzah!

The Strain – this was the one that hurt. Given the pedigree of the show (Guillermo del Toro and Carlton Cuse), I wanted this show to kick ass.

Sadly, even though the one-and-done guest appearances of some familiar genre faces (like Larry Fessenden and Aaron Douglas) were much appreciated, it’s still got a whole slew of issues that need to be fixed.

As with the above two shows, The Strain’s also got a second season renewal, so here’s hoping they make the most of it, ‘cause they’ve got lots of tweaking to do to get this show pitch perfect…

Parting Shot 2: And while we’re on the subject of television, the pilot episode for Chris Carter’s new show for Amazon, The After, is mighty interesting.

Yes, the premise is not exactly new (it’s a mash-up between the “a bunch of strangers find themselves working together to survive an apocalyptic disaster” and “a bunch of not-so-random strangers thrown together, seemingly by fate” set-ups), but hey, this is Chris Carter, so I’m über-curious where he plans to take the story.

Plus, an initially unrecognizable Jamie Kennedy and Sharon Lawrence!

And a projected 99 episode run based, at least structurally, on Dante Alighieri’s Divina Commedia. (And I’m assuming he meant 99 episodes past the pilot, since there are 100 cantos in the Commedia.)

Given my fascination with Dante that stretches back all the way to high school (thank you, Mr. Manny Leviste!), there was no way I was gonna pass this up.

I’m so in, Mr. Carter…

(Hannibal OS’ courtesy of aintitcool.com and impawards.com; Salem and Penny Dreadful OS’ courtesy of impawards.com; The Strain OS courtesy of collider.com; The After image courtesy of seriable.com.)

A Rundown of the 13 Best, Most Recent Horror Movies I’ve Seen
[7 of 13]
EL ORFANATO (THE ORPHANAGE)
(May 2007)


… it’s a comforting surprise that El Orfanato is the feature debut for both [writer Sergio] Sánchez and [director Juan Antonio] Bayona. The certitude and confidence that clearly informs the film seems to have come from practiced, veteran hands. The fact that it stems from two newcomers not only makes the film even more astounding, it also effectively underscores the importance of El Orfanato as a magnificent harbinger of better, brighter things to come from the pair.

Read the entire review here.

(El Orfanato OS courtesy of aintitcool.com.)

HELLBOY II:
THE GOLDEN ARMY
(Review)

If you give the Iguana a visit every now and again, you’ll most likely know that I love me my Guillermo del Toro.
The initial blush of curiosity with which I greeted his odd little vampire tale Cronos, has over the years blossomed into a reverent admiration for his exquisitely-told tales of dark, macabre fantasy.
The thing of it is, though, the original Hellboy holds the dubious distinction of being the film I least like in del Toro’s oeuvre. The clunky, ill-paced script and the disappointing, anti-climactic wrap-up, left me with a cinematic experience that suffered terribly when put up against his other popcorn effort, Blade II. (Even del Toro’s first Hollywood foray, Mimic, compromised as it was, was still a lot more fun than Hellboy turned out to be.)
Thus, coming into Hellboy II: The Golden Army, all I really hoped for was that it would at least be better than the original.
Thankfully, it is.
On the downside though, it displays some of the same problems Hellboy had.


Unlike the original (which was adapted from the Hellboy comic, Seed of Destruction), The Golden Army springs from a script penned by del Toro, centering on the Elven Prince Nuada (Blade II’s Luke Goss), who seeks to wage war on humanity by loosing the titular, purportedly indestructible, army upon the world.
The problem with del Toro’s script isn’t its premise though (which is serviceable enough), but rather the manner in which its myriad parts—most of which work rather well, I should note—interact with each other.


The action set pieces—particularly those which feature the bada$$ Nuada—are certainly better than those in the original.
The character bits are—again, as with the original—the best sections of the entire film.
Even the climax, which turns on a decidedly emotional pivot, works far more effectively than Hellboy’s.
But as much as most of the individual narrative pieces do their work, del Toro never quite finds the right rhythm to make the whole a smooth, flowing ride. Comedic bits—a few, sadly strained—blunder into character moments, which then bump up against explosions and fisticuffs.
The erratic pacing of the whole then results in a two-hour running time that ultimately seems longer.


Script problems aside though, The Golden Army is still a worthwhile cinematic experience, and there’s a number of folk that need to be commended for that.
First, the familiar del Toro stalwart, cinematographer Guillermo Navarro (who shot the original Hellboy, as well as Cronos, El espinazo del diablo, and El laberinto del fauno, for which he took home an Oscar, as well as a whole bunch of other honours), who captures all the wonder evident in the costumes of Sammy Sheldon (who also worked on Stardust, V For Vendetta, and The Hitchhiker’s Guide to the Galaxy), and the production design of Stephen Scott (also on the credit roll of Hellboy).


Secondly, there’s the supremely kick-a$$ fight sequences, courtesy of Jackie Chan cohort, Bradley James Allan, who also choreographed The Chronicles of Riddick.
Here, Allan’s work manages to give Blade II’s fight sequences a decent run, while avoiding any overt CGI flourishes (which slightly mar some moments in Blade II).
And hey, Allan also did stunt double duty on the Chan-produced Dak ging san yan lui (Gen-X Cops), so that’s a doubleplusgood in my books.


Thirdly, there’s the amazing creature work by Mike Elizalde’s Spectral Motion, who likewise did time on the original Hellboy (and whose work can also be seen in Monkeybone, Altered, and Lady in the Water, as well as the upcoming Seventh Moon and the live-action Blood: The Last Vampire adaptation).
Realizing in practical terms creature designs which originated from del Toro’s sketchbook, Elizalde supplies 15 creatures for The Golden Army (as compared to the mere 5 for Hellboy), including the incredible Angel of Death.
With the astounding work done here Elizalde proves that genuine characters may be found in the midst of latex and animatronics, and with the effects legend Stan Winston recently departed, it’s comforting to know there are others who can fill the void of his passing.


Giving invaluable assistance in the discovery and realization of those characters, we should also note the contributions of Doug Jones, whose physical performances do much to inform the costumes he wears with a vital and potent substance, and Family Guy/American Dad creator Seth MacFarlane, for bringing bags of amusing levity as the voice of by-the-books BPRD operative, Johann Krauss.
Sadly though, while Goss once again brings a palpable level of pathos to his character, as he did in Blade II, Anna Walton, who plays Nuada’s twin, Nuala, isn’t given much to do beyond looking suitably princess-like. Worse, the script stymies her character on occasion just to get to the next action set piece, or to move the narrative along. If she’d only immediately said, “You should really stop that jumping bean from reaching water,” or “Oh, by the way, since Nuada’s my twin, he can find me wherever I am,” then the film’s characters would have been spared boatloads of grief…


Ultimately, what The Golden Army seems to prove is, if del Toro must do a popcorn movie, then he really should be kept away from the script, or at the very least, have a co-writer by his side (Blade II was written by David Goyer, and Mimic was co-written with Matthew Robbins, who also penned Dragonslayer and *batteries not included).
It seems as if del Toro’s storytelling is better suited to films like El espinazo del diablo or El laberinto del fauno, where action set pieces aren’t required to punctuate the narrative, and the only real fuel that’s needed is his rich and seemingly boundless taste for the fantastic.

Parting shot: Reviews of del Toro’s Blade II and El laberinto del fauno can be found in the Archive, alongside reviews of Mutant Chronicles and The Last Winter (which star Hellboy himself, Ron Perlman).

(Hellboy II: The Golden Army OS [design by BLT & Associates] and Angel of Death character OS courtesy of impawards.com; images courtesy of latimes.com [Guillermo del Toro and Mike Elizalde, photos by Egon Endrenyi]; kungfucinema.com; mtv.com; and shocktillyoudrop.com.)

Thanx to Rej and MeAnn of New Worlds, for the cool headgear, the reading material, and of course, the tickets to the Troll Market, and to Jeb, for coming along for the ride…

AFTERTHOUGHTS (95)
EMPIRE’S! 50! GREATEST! COMIC! BOOK! CHARACTERS! [1 of 5]
THE OVERVIEW EDITION


As you can probably surmise by the above image, the septuagenarian Man of Steel took the #1 spot on Empire’s list, and we take a closer look at him in the fifth part of this series—Afterthoughts (99), in the Archive.
For now, we look at the list in general, and a few of the notable names on it.

On the plus side, it’s a nicely inclusive list that features more than the average spandex-clad superhero.
On the minus side, no Grant Morrison characters. Not. A. One.
This kills and disappoints me, as I truly love Empire. The Morrison oversight—considering some other comic book names manage to get two or even three of their characters in there—is such a crime…
(If memory serves, Morrison is only mentioned twice in the entire list, in the Emma Frost entry [#30], making reference to his New X-Men reinvention of the character, and in the Joker entry [#8].)

To distract myself from the horrible slight, I’ll take a look at some welcome names on the list…



35 Hellboy (aka: Anung Un Rama)
There are few characters more original or striking (literally—Hellboy punches first, asks questions… well, almost never) than Hellboy, the genius creation of Mike Mignola, who uses the character as the outlet for his obsession with pulp comics, Lovecraftian horror and tales of ancient folklore and the supernatural.
Enhanced greatly by Mignola’s artwork—pitch-black shadows and popping reds—Hellboy is a lumbering but lovable giant of few words (although, “aw, crap” is usually high on the list) who interacts with talking corpses and giant tentacled horrors while trying to deny the destiny he was created for.
For the movies, Guillermo del Toro gave Hellboy more inner turmoil and emotions, but the comics version is a blast as he investigates the paranormal in much the same way Gene Hunt investigates crime—fists first!
FIRST APPEARED IN SAN DIEGO COMIC-CON COMICS #2 (1993)
CREATED BY MIKE MIGNOLA


22 Hunter Rose (aka: Grendel)
The original and best in Matt Wagner’s long-running series of masked anti-heroes, Hunter Rose was a young genius gifted with extraordinary physical and mental prowess and just a little too much time to spare.
Finding that excellence breeds boredom if not channelled correctly, Rose set about becoming a crime kingpin, hired killer and all-round roguish gadabout before dying at the age of 21 by the hands of his lycanthropic nemesis, Argent.
More Grendels have followed in Hunter Rose’s footsteps but few have done the job with such an innate sense of style.
FIRST APPEARED IN COMICO PRIMER COMIC-BOOK ANTHOLOGY (1982)
CREATED BY MATT WAGNER



16 Rorschach (aka: Walter Kovacs)
Choosing just one of the Minutemen—the stars of Alan Moore and Dave Gibbons’ classic comic, Watchmen—was tough. But from a purely iconic point of view, it had to be Rorschach.
Who was in the first picture released from Zack Snyder’s upcoming Watchmen movie? Rorschach.
Who dominated online casting debates? Rorschach.
Like The Punisher, Rorscach can be easily dismissed as a fascist whose belief in moral absolutes—there are no shades of grey; only black, white, good and evil—drives him to take the law into his own hands.
But in the hands of Moore, the freckled, ginger Walter Kovacs is a taut, tortured, complex creation who, as well as being at the centre of some of Watchmen’s most memorable sequences (the prison riot, for one), ends up being perhaps the most pure out of the graphic novel’s characters, the only one who—SPOILER WARNING—isn’t interested in compromising himself for the greater good.
FIRST APPEARED IN WATCHMEN #1 (1986)
CREATED BY ALAN MOORE AND DAVE GIBBONS

The above write-ups are from Empire’s list.
For more on the above characters, just click on their names; the entire list will be accessible from there.

In Part 2—Afterthoughts (96)—we note some characters from Marvel’s X-Men franchise.

(Images courtesy of dccomics.com [Superman; art by Carlos Pacheco]; empireonline.com [Hellboy, art by Mike Mignola; Rorschach, art by Dave Gibbons]; impawards.com [Hellboy II: The Golden Army OS [design by Crew Creative Advertising]; darkhorse.com [Grendel limited edition print, art by Matt Wagner]; and watchmenmovie.warnerbros.com [Jackie Earle Haley as Rorschach].)

AFTERTHOUGHTS (92)
MAKE A DIFFERENCE



What more is there to say?

(Banner courtesy of hetfet.org.)

AFTERTHOUGHTS (88)
“LATINO!”

Big Red auditions for Yasmine and Crash…



(Video courtesy of youtube.com.)

AFTERTHOUGHTS (87)
“AND YOU DON’T WANT TO GET ON THEIR BAD SIDE…”

A great PSA from Big Red…



(Video courtesy of youtube.com.)

AFTERTHOUGHTS (86)
“THAT’S WHAT YOU GUYS DO TOO?”

Okay, this is more like it…
Following the slight hiccup that was the American Gladiators cross-over, here’s Big Red comparing notes with Jason Hawes and Grant Wilson…



(Video courtesy of youtube.com.)

AFTERTHOUGHTS (85)
“COOL!”

Okay, this one’s the shortest spot so far, and the first one that kind of left me going, “Meh…”
At any rate, a few more cross-overs are rumoured to be on the way, presumably before the July 11 opening of The Golden Army.
Till then, here’s Big Red again…



(Video courtesy of youtube.com.)

AFTERTHOUGHTS (84)
“BOOYAH!”

And I thought Chuck vs. Hellboy was cool.
Now Big Red takes on… James Lipton!



(Video courtesy of youtube.com.)

AFTERTHOUGHTS (82)
“LUNCHBOXES!”

While we’re waiting for Mr. Bartowski’s return this fall, here he is, with… ummm… Hellboy.



(Video courtesy of youtube.com.)

AFTERTHOUGHTS (81)
HITCHHIKING TO SATURN 2008 (2)

So this year’s Saturns (held last night at the Universal Hilton Hotel in Universal City) have come and gone, and the notable wins are:

300:
Best Action/Adventure/Thriller Film
Best Direction (Zack Snyder)

Blade Runner:
Best Special Edition DVD Release (5 Disc Ultimate Collector’s Edition)

Cloverfield:
Best Science Fiction Film

Dexter:
Best Syndicated/Cable Television Series

Eastern Promises:
Best International Film

Heroes:
Best Television Series on DVD (Season 1)

Lost:
Best Network Television Series
Best Actor on Television (Matthew Fox)
Best Supporting Actor on Television (Michael Emerson)
Best Supporting Actress on Television (Elizabeth Mitchell)

The Mist:
Best Supporting Actress, Film (Marcia Gay Harden)

No Country For Old Men:
Best Supporting Actor, Film (Javier Bardem)

Sweeney Todd: The Demon Barber of Fleet Street:
Best Horror Film
Best Costume (Colleen Atwood)

Twin Peaks:
Best Retro Television Series on DVD (The Definitive Gold Box Edition)

I’m happy for Lost, naturally, though Elizabeth Mitchell’s win for Best Supporting Actress on Television was actually a tie with Terminator: The Sarah Connor Chronicles’ Summer Glau.
For my money (and the tremendous work she’s put in on Lost), Mitchell should have taken the category, lock, stock, and barrel.
And, as with any other awards night, there were the disappointments: El Orfanato, Stardust, Battlestar Galactica, and Pushing Daisies, all getting shut-out, as well as a bunch of other criminal calls (Jennifer Love Hewitt over Anna Friel and Evangeline Lilly?!), but hey, there’s some awfully neat stuff up there, so I’ll just accentuate the positive…
Oh, and aside from Guillermo del Toro receiving the George Pal Memorial Award for his “visionary genius,” Matt Reeves was also recognized with The Filmmakers Showcase Award, for directing Cloverfield.

To all the nominees and winners at this year’s Saturns, congratulations. (You can find a complete—and downloadable—list of winners here.)

Parting shot: Reviews of 300, Cloverfield, Eastern Promises, The Mist, No Country For Old Men, and Sweeney Todd: The Demon Barber of Fleet Street, can be found in the Archive, along with episodic recaps/reviews of Dexter, Heroes, and Lost.

(Images courtesy of impawards.com [Lost]; bloody-disgusting.com [Cloverfield OS]; ew.com [Javier Bardem in No Country For Old Men]; filmz.ru [Marcia Gay Harden in The Mist]; and empireonline.com [Guillermo del Toro].)

reVIEW (46)
SARINUI CHUEOK
(MEMORIES OF MURDER)

Before Korean director Bong Joon-ho made a decidedly bigger splash with his creature feature Gwoemul (The Host), he had already made a significant impression on the global cinema stage with his 2003 serial killer procedural, Sarinui Chueok (Memories of Murder).

Set in 1986 and based on a real-life unsolved case, Sarinui Chueok chronicles the predations of a serial rapist and killer in the Korean countryside, and the unfolding investigation as local detective Park Doo-man (Song Kang-ho, seemingly ubiquitous in the best of Korean cinema, whom Bong would again collaborate with on Gwoemul) is made to work with city boy Inspector Seo Tae-yoon (Kim Sang-kyung), who’s just arrived from Seoul to help crack the case.
Despite a premise that sounds like a very run-of-the-mill serial killer thriller, what makes Sarinui Chueok stand out as a shining exemplar of the genre though is the manner in which Bong grounds the narrative in the time and place of its setting.

This is 1986, in the Korean boondocks, where crime scenes are routinely disrupted and compromised by unruly children, curious gawkers, the press, and runaway tractors; a pre-Internet Korea, without even the technology and equipment for a standard DNA check. It’s Grissom’s worst nightmare…
This low-tech procedural aspect, Bong’s film shares with David Fincher’s Zodiac, another brilliant serial killer thriller of recent vintage. But what makes Sarinui Chueok even more fascinating is how the narrative is truly of Korea, how the plot and script can’t simply be transplanted to, say, an American setting for an English-language remake.
This is Korea, where civil rights advocates will frankly be horrified at the manner in which suspects are treated and confessions extracted, making this the worst nightmare of any of the dozen or so Law and Order casts as well…

It’s this very particular national identity though that serves to make Sarinui Chueok Exhibit A in the case that you can always approach what seems to be a dead horse of a genre with new and vital eyes (something Fincher also managed to do with Zodiac and Showtime is doing with Dexter).
It’s also Exhibit A in the case of never making the mistake of aping the wrong conventions of a foreign film when you’re clearly not making one. (Think Rob Marshall’s Memoirs of a Geisha, which tried so hard to be an Asian art film, when it clearly wasn’t.)
In this latter case, Sarinui Chueok also shares its commendable distinction with Exhibit B, Sebastian Cordero‘s Cronicas (Chronicles). Produced by Guillermo del Toro and Alfonso Cuaron, Cronicas is likewise based on a real-life serial killer case, this time, in Ecuador. Though I do admit to finding Sarinui Chueok a far more absorbing film, Cronicas is nonetheless a very non-Hollywood approach to the genre that is very grounded in its Ecuadoran setting.

What also makes Sarinui Chueok such a memorable and distinctive entry in the annals of serial killer thrillers is its sense of humour; this is going to sound strange, but Sarinui Chueok is the funniest serial killer thriller I’ve ever seen.
Again, Bong takes that very particular Korean setting and sensibility, and finds strains of amusement in the proceedings, without overstepping the boundaries of good taste. Though there are chuckles and guffaws to be found here (mainly in the manner in which the investigation is conducted and the rural circumstances that surround it), we never truly forget that this is a gruesome case, whose details and deviant minutiae were alien, not just to the provincial townsfolk who were intimate with its disturbing leavings, but to the country as a whole.

And if you’re not totally convinced, then consider that Sarinui Chueok was the most watched film in South Korea in 2003, and is currently the fourth most viewed film in South Korea of all time. It also won Korea’s Grand Bell Awards for Best Film, Best Director, and Best Leading Actor (Song).
So if you’re looking for something different on the serial killer thriller front, or discovered Bong Joon-ho through Gwoemul, you should really check out Sarinui Chueok.
It’s effective, lyrical, and yes, funny, and that’s not something you can say about most serial killer thrillers.

Parting shot: Though the narrative is elegantly compressed in this film, the real-life case also mirrors the actual Zodiac case in that this was a terribly protracted investigation which was ultimately left unsolved: ten similar murders occurred between October 1986 and April 1991, and over 3,000 suspects were interrogated over its course.

Parting shot 2: Reviews of Bong’s Gwoemul and Fincher’s Zodiac can be found lurking in the Archive, where episodic recaps/reactions to Dexter also reside.

(Sarinui Chueok OS courtesy of soju22.net; images courtesy of seoulselection.com; Memories of Murder DVD cover art courtesy of amazon.co.uk and amazon.com.)

THE CINEMATIC (UN)LIFE OF COUNT DRACULA
1922-1979
Part I: “A Symphony of Shudders”

July 13 1929
The Film Society has finally caved in to reason and handed the copy of that blasted film to me.
Just when I begin to think that everything Abraham worked so hard for is safe and out of the hands of profiteering criminals, yet another copy surfaces. Irritable piece of filth.
Blast Murnau and his colleagues!
I have consigned this particular copy to the furnace and even now am watching it burn. Seeing the tiny sparks floating up from the flames is doing me a world of good. The smoke though, reminds me of how that cadaverous thing met its demise.
I still recall how that monster looked. A repulsive, man-sized rodent! Revolting.
And the Society had the gall… the unabashed audacity, to invite me to its screening, even after all the fuss and bother of my legal entanglements with Prana-Film.
The film isn’t even any good at all. They changed the ending, for pity’s sake!
Sunlight, indeed.
What would have been so difficult about a Bowie knife?
Ridiculous.


1922.
Friedrich Wilhelm Murnau’s classic silent film, Nosferatu, Eine Symphonie des Grauens, is released.
For the purposes of this article, three important points to take note of.

One: the film is a thinly-veiled (and unauthorized) reworking of Bram Stoker’s Dracula, merely changing character names (Dracula becomes Graf Orlock; Lucy Westenra becomes Annie Harding; Van Helsing becomes Bulwar), locales (London becomes Bremen), and time periods (1893 winds back to 1838).
Florence Stoker’s campaign to have every single copy of the film destroyed is legendary.
Several times, beginning in July 1925, when all the copies owned by the Deutsch-Amerikansch Film Union were reportedly destroyed, Stoker’s widow came close to her goal.
But always, when it seemed that the film had finally been obliterated, the existence of another copy would come to her attention, and her protests would begin anew. This crusade was to continue till her death in 1937.
In the end though, what managed to escape her attention was a talkie that surfaced in 1930. Entitled Die Zwolfte Stunde (The Twelfth Hour), it was later discovered to be none other than Murnau’s Nosferatu, with a music-and-effects track added onto it.
Of this particular turn of events, writer Denis Gifford has said, “Nosferatu is the classic example of art saved from destruction by piracy.”


Two: visually, Graf Orlock’s bald, rat-like countenance has served as inspiration for everything from Tobe Hooper’s TV adaptation of Stephen King’s Salem’s Lot, to a whole clan of vampires in White Wolf’s role playing game, Vampire: The Masquerade, to the Reapers in Guillermo del Toro’s Blade II.

Three: Orlock’s death—disintegrated by the rays of the rising sun—appears nowhere in Stoker’s novel; neither does traditional folklore say that a vampire is affected by the sun in this manner.
Death by sunlight is a purely cinematic invention that has since filtered into vampiric lore, becoming an invaluable (and to some, indispensable) addition to the body of myth that has accreted around the nocturnal creature.
Think how different vampires would be today, if Florence Stoker had succeeded in her campaign.
No “death by disco” climax in Robert Rodriguez’s From Dusk Till Dawn; no FX-laden Chris Sarandon death scene in Tom Holland’s Fright Night; no fiery ends for the down-and-dirty deadheads of Kathryn Bigelow’s Near Dark; and the entire premise of David Slade’s 30 Days of Night would be meaningless.
Which just goes to prove that film is a powerful medium, rearranging the public’s perception of facts, fallacies, and fables.


Nosferatu was to be merely the first of a whole slew of films that would be based on Stoker’s novel, the stage adaptation, or simply feature a character named Dracula, whether or not he resembled Stoker’s character.
And just to illustrate the depths that crass exploitation can go, there have also been films that have had “Dracula” in their titles, but did not even have a character with that name appearing in the film itself.
Case in point: Blood of Dracula, which was about a hypnotized girl developing a taste for blood. No Count whatsoever.

Parting shot: Reviews of Blade II, 30 Days of Night, and Shadow of the Vampire (which presents a fictionalized look at the filming of Nosferatu) can be found in the Archive.

In Part II of “The Cinematic (Un)Life of Count Dracula” (also to be found elsewhere in the Archive), we take a look at the stage adaptation of Stoker’s Dracula, to get a better understanding of the film adaptations from 1931 onwards.
The article above is a slightly altered portion of the second part of the previously published Blood, Love and Rhetoric series of articles written in 1997, to celebrate the 100th anniversary of Bram Stoker’s Dracula.
The opening diary entry is of course, a fiction of mine.
Much love and thanx to Karen, for inviting me into the sandbox where this piece of writing (and so many others) first got to play.

(Nosferatu OS’s courtesy of impawards.com; image courtesy of greencine.com; DVD cover art courtesy of amazon.co.uk.)