THE DEVIL’S CHAIR
(Review)

“I guess you’ve seen Hellraiser. I’m guessing you’ve seen all those kind of films. Pumpkinhead or whatever. That’s probably why you’re watching this now.”


Well, this one was interesting. I can’t say I completely love it, but it’s an intriguing piece of horror cinema nonetheless.
We open with the scathingly knowing narration of Nick West (Andrew Howard), as we’re treated to fragmentary glimpses of how this tale will end, before we’re quickly shown the foundation of Adam Mason’s The Devil’s Chair: Nick and his bird Sammy (StarStreet’s Polly Brown) are larking about the abandoned Blackwater Asylum, when they discover the eponymous chair, which becomes instrumental in Sammy’s apparent demise.


We’re never really certain what exactly happened—not yet, at any rate—but Sammy’s body is never found, and Nick’s crazed rantings about the chair land him in a functioning loonybin for four years, before he’s prematurely sprung by Psychology professor, Dr. Willard (David Gant, possibly familiar to some of you from Paco Plaza’s Romasanta, François Girard’s Le violon rouge, or Terry Gilliam’s Brazil).
Willard intends to write a book about Nick, about the incident and his delusions. Central to that book is Nick’s reactions to his return to Blackwater, in the company of Willard and a few handpicked students.


Right off the bat, we can plainly see the terrible Catch-22 here: if Nick is indeed a nutter, then the good doctor is returning to the scene of the crime with the lunatic murderer (something which is actually brought up by one of the characters early on in the film); if Nick is telling the truth, then there’s some weird supernatural shenanigans going on in Blackwater.
Either way, an abandoned asylum is the last place any sane individual would want to be in.
But Willard and academic company take the plunge, with Nick in tow, and The Devil’s Chair chronicles the results of that boneheaded decision.

“Look at this poorly written, badly acted bullsh!t! Is there any truth in this B-movie banality? No! No!
“There is no truth, my friends. Believe no one. Believe nothing.”


At its core, The Devil’s Chair is a fascinating look at the dichotomy of the traditional supernatural-tinged horror film and the more modern, grounded brand of endurance horror which finds its roots in Tobe Hooper’s The Texas Chain Saw Massacre and Wes Craven’s The Hills Have Eyes.
Nick’s voice-over, which runs the entire length of the film, serves as a sort of postmodern commentary on the on-screen action, adding another layer to the whole. Initially, this may at first seem to be a way to inject a Guy Ritchie-esque air about the proceedings (complete with freeze-framing the action so as to better punctuate Nick’s observations and opinions), but ultimately the narrative technique bolsters the climactic reveal.
It’s the non-linear narrative though, which could make or break it for an audience.

As it is, that opening montage pretty much telegraphs the film’s outcome; it’s all right there.
Given though that the third act eventuality was always in my mind, when Mason and co-writer Simon Boyes choose to let that particular shoe drop, it’s still a horrible, pivotal moment that subsequently drags the audience through the grueling, bloody climax.
And, potential deal-breaker though it is, the reveal is certainly more intrinsic to the material than, say, a plot flip like Haute Tension has.
Love or hate that curve which The Devil’s Chair takes, it’s undeniably part of the whole.


For my part, I’ll say this: You know those moments in a movie where you see another film that might have been, had the filmmakers chosen to go down a particular path?
Those instances when you exit the theatre and go, Why didn’t I see that movie, instead of what I was actually shown?
Well, in the case of The Devil’s Chair, I can safely say, I’m glad I didn’t see that movie, the one that was actually going on… What we do see of it is enough to drive the point home.
After all, in this day and age of extreme cinematic horror, there’s something to be said for the adage “A little goes a long way.”

“I tell you what, party people, you geeks and freaks, you bloodthirsty morons... F*ck you. Bring on the red parade.”


As potent a brew as The Devil’s Chair is though (with enough bravado to sneak a David Lynch moment in before the end credits), it’s not without its warts.
There may have been a tad too many of those aforementioned Guy Ritchie moments, and the voice-over did get contrived in some bits, and in one stretch, strangely derisive of the film’s intended audience.
I was also none too thrilled with the CGI bits.
And even though the borderline hammishness of Gant’s portrayal of Willard makes a little more sense by the time the film wraps up, it’s still a borderline hammy piece of acting that we need to endure for the length of the feature.


Still and all, it’s an effective piece that marks Mason as a name to watch in the future. (I’ve yet to see his previous film, Broken, though in the wake of The Devil’s Chair, I’m certainly looking forward to his next feature, Blood River, which reunites him with Howard.)
If you, like me, revel in the broad and dark spectrum that horror resides in, then The Devil’s Chair is a title that needs to go on your viewing list.
At the very least, it could open up some involved discussions of the different kinds of horror, and the particular personal preferences of any given horrorhound.

“Do you ever get the feeling you’ve been cheated?”

Parting shot: Incidentally enough, having mentioned Ritchie, Howard had a role in his underappreciated Revolver.

(The Devil’s Chair OS courtesy of bloody-disgusting.com; images courtesy of bloody-disgusting.com & shocktillyoudrop.com.)

AFTERTHOUGHTS (101)

101.1 PIMP MY BOOK


So my online novel Pelicula is now completely available on the ‘net, all its reels and chapters safely floating out there in the aether.
If you haven’t checked it out, or were perhaps waiting for it to boast a proper ending, well, this is your chance.
Just turn off the main infobahn here.


(Thanx to Carl, for all things Pelicula website-y, and to Budj, for co-producing.)

101.2 AUGUST AMERICAN CINEMATHEQUE HIGHLIGHTS


August 2, Saturday, 5:00 PM
Aero Theatre
A marathon of the extended versions of Peter Jackson’s Lord of the Rings trilogy (a whopping total of 682 minutes!), to be introduced by legendary fantasy artist Greg Hildebrandt.
[Special admission price: $3.00.]


A Tribute to Stan Winston [August 15-16]
Aero Theatre
August 15, Friday, 7:30 PM
A double feature of James Cameron’s Aliens and Winston’s directorial debut, Pumpkinhead.
August 16, Saturday, 7:30 PM
A double feature of John McTiernan’s Predator and Stephen Hopkins’ Predator 2.


August 21, Thursday, 7:30 PM
Egyptian Theatre 85th Anniversary Double Feature
The original versions of Ridley Scott’s Alien and James Cameron’s Aliens.
(Both films originally premiered at the Egyptian Theatre.)

101.3 PUSHING DAISIES AT SDCC08


With all the news that has flooded out of this year’s recently concluded edition of the San Diego Comic-Con, one of the bits that has got me giddy is this: a Wonderfalls/Pushing Daisies cross-over!


Mary Ann Marie Beetle, from Wonderfalls’ “Muffin Buffalo” episode, will appear in Pushing Daisies. (And the crowd goes wild…) At the moment, I’m unsure whether Beetle will again be played by Beth Grant (I certainly hope so).


And, and, and… Diana Scarwid appears in the first 3 episodes of Season 2. (Sadly, I don’t think it’s as Karen Tyler.)
Is Caroline Dhavernas far behind?

(Images courtesy of ew.com [Peter Jackson on the set of The Return of the King]; wired.com [Stan Winston]; horrorphile.net [Alien image]; aintitcool.com [Pushing Daisies and Wonderfalls DVD cover art]; and hollywoodjesus.com [Wonderfalls promo image of Diana Scarwid].)

(Pelicula logo by Carl Vergara; Habagat icon and pin-up by Ian Sta. Maria.)

IN MEMORIAM

Stan Winston
April 7, 1946 – June 15, 2008

(Image courtesy of Stan Winston Studio and latimes.com.)

SKINWALKERS
(Review)

As I mentioned in my review of Katja von Garnier‘s Blood and Chocolate, compared to the vampire, the werewolf has always gotten the shorter end of the proverbial stick (and in the case of the Underworld films, both races get screwed).
The latest film to feature our lupine friends, Jim Isaac’s Skinwalkers, is a curious mix of win and loss.

The premise is simple: skinwalkers (werewolves to the midnight movie crowd) exist, and the race is split down the middle; there are those who think of the monthly change as a curse, while others—those addicted to the kill—relish it as a gift.
There is a prophecy (isn’t there always?) of a special child who will hold the destiny of all skinwalkers in his hands.
Rachel (Nip/Tuck’s Rhona Mitra) is the mother of Timothy (Matthew Knight; The Grudge 2), who happens to be the child in question. Ignorant of their pivotal roles in this primeval struggle, widowed Rachel and child are being cared for and sheltered by Rachel’s brother-in-law Jonas (Elias Koteas, seen recently in David Fincher’s Zodiac) and his extended family.
And when skinwalker baddie Varek (Roswell’s Jason Behr) and his hairy homeys track down the prophesied child, Rachel realizes she married into a whole heap of trouble.

First, the cons.
The depiction of both sides of the war is decidedly uneven: while there is some attempt at sketching out the relationships and personalities of the good skinwalkers, Varek and his crew are little more than loping, savage ciphers. Save for one, there is no indication of who these skinwalkers were before they became the cruel hunters they are now, no inkling of motivation other than that they’re addicted to blood. There really aren’t even any tiny quirks to make one stand out from the other.
That’s exacerbated by performances that are rather bland and one-note, sadly a shortcoming that extends even to the goodie skinwalker camp. The only actors who actually register are the always interesting Koteas, Shawn Roberts (from George Romero’s Land of the Dead and the upcoming Diary of the Dead) as Adam, and, to a limited extent, Knight.
Particularly disappointing on this front are Mitra, who doesn’t quite convince as the woman who’s been lied to for thirteen years but must now step up to fight for her son’s life, and Behr, whose Varek isn’t the intimidating baddie this film so desperately needs. Their characters are all surface, with no emotional depth to them, like skinwalkers hiding behind flimsy human facades.

The script (by James DeMonaco, Todd Harthan, and James Roday) doesn’t help matters any either.
It’s a slow starter, taking some twenty minutes to kick into gear, really seriously moving only when Nana (Barbara Gordon), bless her soul, pulls out her piece and starts to shoot up Main Street. Once the narrative’s engine revs up though, it quickly settles into a choppy ride, the film never really quite hitting a satisfying stride.
Additionally, the plot’s surprises aren’t really surprises at all. Skinwalkers is rather transparent; given how the relationships and conflicts are laid out, you can basically see how it’s all going to turn out. And it’s never a good thing, when you can anticipate the beats of a story. (It also makes the characters looks pretty stupid when the audience knows more than they do.)

But there are pros.
One: the creature design by Stan Winston Studios.
Winston, who’s given us everything from xenomorphs to Pumpkinhead to animatronic dinos, delivers lupine bipeds with unsettling facial features, something new to the werewolf catalogue.
Sure, the transformation scenes could have used more bite, but man, those beasties were sure walloped by the ugly stick.

And two: despite my less than enthusiastic response to the film, it does end on a note that actually makes me look forward to a sequel, if one is even on the cards. Skinwalkers wraps on a situation that opens the door to the possibility of a down-and-dirty genre actioneer, with loads of guns and ammo, fangs and fur.

In the end, Skinwalkers isn’t a total loss, and if the right people can come together to deliver a swift and savage sequel, then this flawed effort would not have been in vain.

Parting shot: Jim Isaac’s past directorial efforts include The Horror Show and Jason X, both dismal affairs. Skinwalkers is his best film by far.
He’s also done fx work on such David Cronenberg films as The Fly, Naked Lunch, and eXistenZ, all of which I love.
(It’s safe to say I’m a bigger fan of Jim Isaac the special effects guy, than I am of Jim Isaac the director…)
It’s also interesting to note that Isaac considers Cronenberg a mentor of sorts, and not only thanks him in Skinwalkers’ end credits, but actually cast him in a small role in Jason X.

(Original Skinwalkers OS courtesy of empiremovies.com—the film’s release date was later moved to July; image courtesy of shocktillyoudrop.com.)