Movie Review ~ Beautiful Boy


The Facts
:

Synopsis:  Based on the best-selling pair of memoirs from father and son David and Nic Sheff, Beautiful Boy chronicles the heartbreaking and inspiring experience of survival, relapse, and recovery in a family coping with addiction over many years.

Stars: Steve Carell, Timothée Chalamet, Maura Tierney, Kaitlyn Dever, Amy Ryan

Director: Felix Van Groeningen

Rated: R

Running Length: 120 minutes

TMMM Score: (6.5/10)

Review: After so many landmark films about the perils of addiction have been made featuring numerous memorable performances, it takes a special story not to mention top flight actors and on-the-ball filmmakers to make the case for another entry. What is different about this story that sets it apart from what has come before? Where and what is the message? Is there a lesson to be learned? A final thought to hold tight to? It’s an uphill battle of questions for even the most talented of professionals to answer which is why the final take-away from Beautiful Boy is that it’s a respectably well made film of a story that feels too familiar.

Based on the popular memoirs from journalist David Sheff and his son Nic Sheff, Beautiful Boy documents the journey both men go through as they deal with Nic’s addiction to alcohol and drugs. A child of divorce, Nic was a bright young man who became entangled with narcotics at a young age and continued to use through his attempts at going to college and after his various stints in rehab. Bouncing between his parents that tried in their own flawed way to pull their son out of his darkness, Nic (Timothée Chalamet, Call Me By Your Name) continually hit rock bottom but couldn’t stay sober for long stretches of time. He becomes homeless, despondent, overdoses, and watches as friends (some of whom he brought into his drug orbit) overdose as well. It’s a pattern that repeats itself often throughout the film, to intentionally maddening results for David (Steve Carell, Foxcatcher), his wife (Maura Tierny, Insomnia), and his ex-wife (Amy Ryan, Goosebumps)

Chronicling this frustrating journey, screenwriter Luke Davies (Lion) effectively blends elements from both memoirs that give a narrative through line but never truly fleshes out the lasting effects Nic’s addiction has on the two men and the people in their lives.   I almost wish they had chosen one perspective to focus on and stuck with that or done a better job at sectioning off David’s story and telling that in parallel to Nic’s side of things at the same time. As it stands, we get bits of pieces of this long road the Sheff family traveled without being able to stop and explore the territory.

Directed by Felix Van Groeningen (director of the stunning Oscar nominated The Broken Circle Breakdown), the movie is slow to get started but does have some highly effective moments when it starts to cut its own path. We’ve all seen movies about addiction but the recovery aspect isn’t something covered in detail that often. The film works best when we see Nic on the other side of his binges and trying to put his life back together. These passages work so well because when he eventually falls victim to his addictions again we feel that grief right along with everyone else. When David finally stops trying to aggressively parent Nic and treats him like an adult with consequences, it’s a powerful moment for him (and the actor playing him) – I wish there were more moments like this throughout the movie but they are few and far between.

As indicated, the performances are good but not totally revelatory. While I applaud Chalamet’s approach to the role I didn’t fully find myself immersed in his performance as I thought I would. So unforgettable in his Oscar-nominated role in Call Me By Your Name, his work here feels like aspiring actor effort instead of fully formed. He hits the notes and looks the part but doesn’t quite deliver from the inside. I have much the same issue with Carrell, though the comedic actor fares better because he’s given a less obvious arc toward ownership of his shortcomings to help his son. Carrell has more moments to shine and work though some of the pain David experienced as he struggles to be a considerate parent to his troubled son but also an attentive father to Nic’s young half siblings.   Ryan and especially Tierney provide strong support as well as the maternal figures in Nic (and, let’s be honest, David’s) life.

It’s Oscar season so it’s not hard to see why Beautiful Boy is being released near the end of the year. It feels like Oscar material that we’re supposed to like because it has so many prestige people involved. It’s a good film and one I’d ultimately recommend, but in several key areas it misses the mark to be something to consider in the “best of” lists critics and audiences are starting to make for themselves.

31 Days to Scare ~ Halloween (2018)

The Facts:

Synopsis: Laurie Strode comes to her final confrontation with Michael Myers, the masked figure who has haunted her since she narrowly escaped his killing spree on Halloween night four decades ago.

Stars: Jamie Lee Curtis, Judy Greer, Andi Matichak, Haluk Bilginer, Nick Castle, James Jude Courtney, Virginia Gardner, Miles Robbins, Toby Huss, Rhian Rees, Jefferson Hall, Dylan Arnold, Drew Scheid

Director: David Gordon Green

Rated: R

Running Length: 106 minutes

Trailer Review: Here

TMMM Score: (8/10)

Review: Not only has masked killer Michael Myers lasted longer than a curious cat living next to a busy train track but he’s been revived just as often. Over the past 40 years the Halloween hellraiser from Haddonfield has been a brother to our heroine (Halloween II), an unwelcome uncle (Halloween 4 and Halloween 5), been used as a deadly tool by a cult (Halloween 6), and even missed out completely on one movie (Halloween III). He’s been resurrected (Halloween 8) and rebooted (Rob Zombie’s bizarre remakes) but the one thing that hasn’t truly happened to the Halloween franchise is the chance to revisit with any kind of integrity the characters that made such an impact on audiences four decades ago.

It’s not often a character gets to come back in two different timelines but Jamie Lee Curtis (Prom Night) has the unique distinction of rewriting her own character’s history for a second time. Though Curtis famously returned to the franchise in Halloween: Twenty Years Later (H20 for short…and giggles) the overall impact wasn’t what she hoped and the cleverness fully depleted in the follow-up to that movie. Now, at the urging of none other than Jake Gyllenhaal, Curtis has teamed up with director David Gordon Green (Pineapple Express) and comedian Danny McBride (This Is the End) for a new film which ignores every sequel to John Carpenter’s landmark 1978 film and serves as a fine horror film as well as a glimpse into the lasting effects of trauma.  With Carpenter’s blessing and also his updated score, the three unlikely collaborators set out to continue Laurie’s story with a few unexpected turns along the way.

As the 40th anniversary of The Babysitter Murders in Haddonfield draws near, there is renewed interest in the silent killer Michael Myers and Laurie Strode, the girl that got away. A pair of podcasters (Jefferson Hall and Rhian Rees) have come to Smith’s Grove Hospital to try to get Michael Myers to speak to them. His watchful doctor (Haluk Bilginer, Rosewater) has taken over for the late Dr. Loomis as Michael’s caretaker and doesn’t bat an eye when one of the interviewers hauls out that famous white mask and tries to use it to elict a reaction out of the aged murderer.  How the UK podcaster managed to get the mask out of the courthouse (sure, he says it was given to him but still) and not even in a plastic bag to preserve it is a detail no one seems to bat an eye at. Failing to get anything out of him, the two track down Strode (Curtis) in her protected compound on the outskirts of town.

Living in the woods like a survivalist with no apparent war to fight, Strode is damaged goods after two failed marriages and having her daughter taken away at a young age. Living with the trauma of what she endured has left her broken and bruised, unable to move on from a singular event in her life that still feels unresolved. Estranged from her daughter (Judy Greer, Jurassic World) but attempting to form a bond with her granddaughter (Andi Matichak), Strode is doing the best she can while self-medicating with booze and staying alert in case Myers breaks out and returns to finish the job. Of course, that’s what happens when the bus transporting Myers to a maximum security prison crashes and he escapes. Making a beeline to his hometown and leaving numerous bodies in his wake, Myers slices and dices his way through the town on October 31 while tracking down his main target. Unlucky for him, then, that Laurie has been preparing for this moment for 40 years and is not only ready for his return but willing to stick her neck out to be the one to take him down.

It isn’t a perfect film, there’s far too many extraneous characters that are introduced only to die without much care and there are narrative gaps and implausible leaps that feel outside of the grounded reality the filmmakers are going for. There’s one rather huge twist about ¾ of the way through that is so misguided I thought it was going to derail the entire film – thankfully (mercifully) the film gets back on track fairly quickly. It’s never explained how Myers was captured after the first film or why Strode didn’t just move overseas if she was that traumatized. Also…I still can’t get fathom why this was called simply Halloween and not given its own distinctive title. While it is a direct continuation to the original, it’s not a remake and should have had something to set it apart.  Also, I hate to be the one to break it to you but if you’ve seen the trailers for the film much of the surprises and scares have been spoiled for you.  It’s disappointing to see just how much of the movie has been shown already, way too many of the moments that could have held high suspense have been cheapened or outright ruined by advertisements that held nothing back.

Quibbles aside, Green and McBride (with fellow screenwriter Jeff Fradley) have crafted a supremely satisfying film, pleasing the fans of the original while injecting enough humor, scares, and gore for audiences of today who aren’t content with the slow burn terror Carpenter created in his original masterpiece. Nothing could ever match that and their Halloween doesn’t truly try to outdo its big brother, it just wants to get on the same playing field and it gets the job done. Curtis is wonderful in the role, unlike the character she returned to in H20, I very much believed this Laurie Strode is the same one we first met 40 years ago and she seems to be having a ball giving her most famous role a proper ending. I liked that the majority of the movie focused on the relationship between three generations of Strode women — Greer fits in nicely as Strode’s daughter harboring resentment at the seeming loss of her childhood and I quite liked Matichak who felt like a Laurie for a new generation. There’s already sequel talk and as much as I’d love to see what Green and McBride would cook up next (they originally wanted to film this movie and its sequel back to back) I almost hope they leave well enough alone and let these characters rest in peace.

31 Days to Scare ~ Blink (1993)

The Facts:

Synopsis: Emma, a blind violinist who had recently undergone a revolutionary surgery, joins with a police detective to track a serial killer after she was an inadvertent witness to his latest crime.

Stars: Madeleine Stowe, Aidan Quinn, James Remar, Peter Friedman, Bruce A. Young, Laurie Metcalf

Director: Michael Apted

Rated: R

Running Length: 106 minutes

TMMM Score: (8/10)

Review: My review of 1993’s Blink has to begin with another sad lament that mid-range thrillers like these are no longer made. Throughout the ‘90s movies like this would be released every few weeks and while none of them were going for awards or even enormous box office, many became small gems that are perfect for revisiting even two decades later. I remember looking forward to this one for some time and making sure my dad (who also had a fondness for thrillers) had this on his radar as well. Even at the ripe age of 25, Blink holds up considerably well as a suspense yarn and boasts quite a few good performances and one terrific one.

A blind violinist (Madeline Stowe, Playing by Heart) has been without sight since a childhood accident plunged her into darkness. Independent and more than a little flawed herself, Emma undergoes an experimental surgery that restores her vision but has several side effects. The most troubling to overcome is a visual delay that causes her to see things long after they occurred – so blurry people that visited her in the hospital one day won’t register as clear faces until the next. It may sound like a condition created for the movie but it’s a very real thing.  When Emma’s neighbor is found dead, she realizes she may have “seen” the murderer and tries to convince the detective assigned to the case (Aidan Quinn, In Dreams). He has a hard time believing her when she proves to not be the most reliable of witnesses, eventually pitting her newfound and still shaky sight against a killer’s aim to eliminate the only witness to his crime. There are several twists to the story as it chugs along, including a love affair between the detective and the woman he’s supposed to protect and the true motives of the killer which gradually come to light.

Directed with skill by Michael Apted (The World is Not Enough) and bolstered innumerably by Stowe’s believably rough around the edges performance, Blink is a nifty little thriller with some strong suspenseful sequences. The screenplay by Dana Stevens doesn’t make Emma a perfect heroine, she’s a drinker who was emotionally and physically scarred by her mother and isn’t necessarily the victim people make her out to be. There’s some deep wounds here and Stowe navigates these tricky character nuances well. She’s nicely matched by Quinn and the two create more than believable chemistry (helps they already played a couple, albeit a troublesome one in 1987’s Stakeout). I also liked Peter Friedman (Single White Female) and Stowe’s doctor and even though I feel her part was majorly trimmed in the editing suite, Laurie Metcalf (Pacific Heights) is always a welcome presence.

Worth keeping your eyes open for, Blink is a strong reminder why we need these modestly budgeted thrillers to make a comeback. They are great for a rainy day or a stormy night!

31 Days to Scare ~ Pacific Heights (1990)

The Facts:

Synopsis: A couple work hard to renovate their dream house and become landlords to pay for it. Unfortunately, one of their tenants has plans of his own.

Stars: Melanie Griffith, Matthew Modine, Michael Keaton, Mako, Laurie Metcalf, Carl Lumbly

Director: John Schlesinger

Rated: R

Running Length: 102 minutes

TMMM Score: (8/10)

Review: In these days there’s nothing quite as terrifying as…real estate. It’s a seller’s market and even though just a few years ago the market was good, unless you’re willing to pay a lot more for a lot less, you’re best to stay in your rental unit until the prices dip once more. That was also the case in 1990 when the compact little thriller Pacific Heights arrived in theaters boasting an Oscar winning director and three A-List stars. Even if the film didn’t have much of an impact at the time (made for 18 million it only made 29 in the states), it’s a taut entertainment worth another look.

Taking a chance and putting their life savings into a multi-unit house in a desirable California location, Patty and Drake fix up the place and start to rent it out. One unit goes to a quiet Asian couple and the last unit is eventually rented to Carter Hayes, a smooth talking single guy that assures them he’ll pay the rent on time and won’t be a bother to anyone else with his comings and goings. At first, everything is fine but when the rent is missed and strange construction noises from within his unit begin to stretch on into the night Patty and Drake get worried. You see, Carter isn’t who he claimed to be and the young couple has just acquired a renter from hell that will put them through the wringer.

Melanie Griffith (Working Girl) and Matthew Modine (47 Meters Down) convincingly play two individuals with a strong bond that find themselves fraying with the increased pressure brought on by Carter (Michael Keaton, Spotlight). These are just ordinary folks looking for an investment opportunity, no match for Carter who has done this before and who eventually takes a sinister turn on his landlord. There are plenty of legal frustrations as the couple tries to evict him as well as physical altercations that give way to a final third that turns a bit into a horror film.

Director John Schleisnger (Midnight Cowboy) keeps things at a good clip. At 102 minutes there’s not a lot of padding and while some of the decisions Patty and Drake make might have you pulling out your hair, you certainly feel for the no-win situation they find themselves in. In addition to the nice performances of Modine and Griffith, the latter who truly moves into the lead performance for the final act, there’s a nicely dark turn for Keaton who revels in the chance to play a different kind of sociopath. It’s a strong trifecta of actors that helps to elevate this from your TV movie of the week hellscape.

31 Days to Scare ~ Brain Dead (1990)

The Facts:

Synopsis: In a showdown of man versus machine, Martin plunges into a chaotic nightmare trying to save his mind from the megalomaniacal corporation.

Stars: Bill Pullman, Bill Paxton, Bud Cort, Patricia Charbonneau, George Kennedy, Nicholas Pryor

Director: Adam Simon

Rated: R

Running Length: 85 minutes

TMMM Score: (7/10)

Review: Spoiler alert right from the start: the poster for Brain Dead is very deceiving. The face on the cover doesn’t belong to any of our lead cast members nor does it factor in at all to what happens during the 85 minutes of this low-budget horror film from prolific producer Roger Corman. It’s an effective hook ,though, and I’m guessing it helped earn a rental from most people who never even bothered to look at the back for a plot synopsis. That was Corman’s specialty, creating a box art that that catches the eye and sets some intrigue in the eye of the consumer.

The good news about Brain Dead is that, slightly false advertising aside, it’s a dandy of a horror/thriller hybrid that has several soon to be heavy hitters doing some good work early in their careers. I’m not sure if any of them would necessarily voluntarily list the movie on their resume but their presence alone makes the film an interesting watch. Add to that a script from Charles Beaumont who wrote multiple episodes of The Twilight Zone and you have a movie that rises above its meager production to be a somewhat low-wattage cult favorite.

Dr. Rex Martin (Bill Pullman, American Ultra) is a scientist focusing on brain studies. Experimenting with new techniques, he’s contacted by an old friend (Bill Paxton, Edge of Tomorrow) on behalf of the organization he works for. Seems that one of their employees (Bud Cort) has suffered a mental break and is in a delusional state. He is the only one that knows a certain series of numbers imperative in advancing their business but in his current state he can’t remember or is unwilling to provide a response. Paxton’s character wants Pullman to help extract the data using his untested methods…at least that’s what Pullman thinks is going on.  After a rather standard first half hour the film takes the first of several turns that changes the way Pullman (and we the audience) looks at the situation. The lines of reality blur and we aren’t sure if Pullman is the doctor, the patient, or something in between.

Director Adam Simon keeps things strange enough to keep the 85 minutes rocketing along and there’s enough gore to punctuate the action when it gets staid.  I’d advise keeping yourself distraction free while watching Brain Dead because the plot twists and turns on a dime – you won’t want to miss where the film is heading. While it’s no gigantic achievement, considering the cast alone it’s definitely a hidden gem in the Corman catalog.

31 Days to Scare ~ Sorority House Massacre (1986)

The Facts:

Synopsis: College student Beth and her sorority sisters are stalked by an escaped psychopathic killer who shares a strange telepathic link with her

Stars: Aimee Brooks, Angela O’Neill, Wendy Martel, Pamela Ross, Nicole Rio, John C. Russell

Director: Carol Frank

Rated: R

Running Length: 74 minutes

TMMM Score: (5.5/10)

Review: It’s going to be hard to look past the title of this movie. It’s going to be even more difficult to overlook the plot description. The cover is going to make you raise both eyebrows in a significant arch. Yet, in the end, Sorority House Massacre is not a bad effort considering it’s low budget and inexperienced cast. You’re just going to have to trust me. It’s no classic and there are literally hundreds of other movies you should see before this one. If you’re like me, however, you’ve seen all those other hundred movies and might need to take a chance on something you’d normally breeze by.  This 1986 cheapie from Roger Corman’s production company was written and directed by Carol Frank, a first-time director who never made another movie after this. That’s no dig on Ms. Frank, just an important bit of trivia to get out of the way. Though it’s very similar in plot to The Slumber Party Massacre, another Corman flick that Frank served as an assistant to the director on, Sorority House Massacre does what it can to set itself apart when it has the opportunity to do so.

Reminiscent of any number of popular slasher films that came before it (the whiff of the Halloween films is ever-present), Sorority House Massacre follows a few nights in the lives of sorority sisters left alone for the weekend. Though at first they giggle and talk about boys, they soon start screaming as a madman gets into their house and starts picking them and their boyfriends off one by one. Beth (Angela O’Neill) figures out she has a telepathic link to the killer and discovering how this connection is formed becomes a nice diversion in the midst of all the slayings.

At 74 minutes, the movie manages to feel longer than it should be. There are a few silly sequences included just for the drive-in fans…like the totally random sequence where the girls invade one of their absent sorority sisters closet for a dress-up montage. Of course this is a great moment to feature some copious nudity but it’s oddly voyeuristic, like the camera was just left on during a costume test for the nubile actresses. Then there is the fascination with repressed memory (lucky that one of the girls is a budding psych student!) that results in a hysterical passage where Beth gets hypnotized to plumb her mind for details on the killer.

Surprisingly, the acting is often above average here and I appreciated the attempt to fill out the movie with more backstory than was probably necessary. The killings are bloody enough and several chase sequences have a decent payoff…though it’s never clear just how these girls can’t overpower the scrawny slasher or call for help in what is a fairly populated neighborhood. As in most of these low-budget productions, there’s a lot of crew equipment visible and in one shot I thought a boom mike was another character in a scene because it made so many appearances.

This is one I always passed up in my video store days…mostly because I couldn’t come up with an excuse for my parents to let me rent a movie called Sorority House Massacre. It’s available to stream on Amazon Prime and though I considered stopping it several times I’m glad I took a gamble on it because while it’s not quite bad enough to be a cult classic it’s good enough to hold my interest.

31 Days to Scare ~ Goosebumps 2: Haunted Halloween

The Facts:

Synopsis: Halloween comes to life in a comedy adventure based on R.L. Stine’s 400-million-selling series of books.

Stars: Jack Black, Madison Iseman, Wendi McLendon-Covey, Chris Parnell, Ken Jeong, Jeremy Ray Taylor

Director: Ari Sandel

Rated: PG

Running Length: 90 minutes

TMMM Score: (6.5/10)

Review: Fall is in the air and it’s definitely beginning to feel a lot like Halloween. This is the time each year I can watch whatever I want if it’s related to Halloween and not feel the least bit of guilt for neglecting non-genre films. That’s why I opted out of a screening for a movie with considerable more buzz than Goosebumps 2: Haunted Halloween and found myself in an early evening preview of this follow-up to the modest hit from 2015.  Side note…why aren’t all screenings at 6:30pm?  Makes it possible to have some part of your night free if you’re seeing a shorter film.

I found the first Goosebumps to be a perfectly fine family film that tweens could watch with their parents as an alternative to the adult fare. I’m already dreading seeing how many children there will be at the new Halloween movie next week. The original had a good-set up, decent effects, solid acting, and while it turned into too much mayhem near the end with iffy CGI it was still more than modestly enjoyable. To be honest, I wasn’t even aware a sequel was greenlit, much less in the can and ready to go until I caught the first preview several months back.

With the principals from the first film unavailable and star Jack Black (The D Train) tied up making the also Halloween family friendly The House with a Clock in Its Walls, screenwriter Rob Lieber (Alexander and the Terrible, Horrible, No Good, Very Bad Day, Peter Rabbit) and original writer Darren Lemke (Jack the Giant Slayer) fashioned a new story set in a different fictional town in upstate New York that takes their Halloween very seriously. Houses are decorated to the max (must be nice to have expendable cash) and costumes are several notches above your standard vampire fangs.  Sonny (Jeremy Taylor Ray, IT) and his upperclassman sister Sarah (Madison Iseman, Jumanji: Welcome to the Jungle) live with their single mom Kathy (Wendi McLendon-Covey, Blended) in Wardenclyffe, NY and it’s almost Halloween. Sarah is occupied with boyfriend troubles and trying to get into college, Kathy is overworked, and Sonny is just trying to perfect his school science experiment. Though it often takes a backseat to the shenanigans that will follow, there’s a nice family dynamic created here and one that stresses responsibility to ones self and loved ones – not a bad message hiding amidst all the scares.

Together with his friend Sam (Caleel Harris), Sonny finds himself in an abandoned house cleaning out junk and that’s where the two boys come across a hidden chest that holds only a locked book and a key. Opening the book releases Slappy the ventriloquist dummy and that’s when all Halloween hell breaks loose. Though Slappy originally starts out as being somewhat helpful by showing Sonny and Sam’s bullies a thing or two and doing their chores, his benign nature gives away to something more evil when he causes an accident that sends Sarah’s cheating boyfriend to the hospital. Eventually, Slappy’s true nature is revealed…he wants to make Halloween come to life 365 days a year and rouses every manner of beast and ghoulie to achieve his task.

Director Ari Sandel won an Oscar for a short film in 2007. I haven’t seen that movie but it’s clear he has some style seeing that the movie bops along so pleasantly for its 90 minutes. It’s fast moving without making too many narrative leaps and surprisingly cohesive even with a sometimes overstuffed plot. Introducing R.L. Stine (Black, who also provides the menacing voice for Slappy) late into the mix feels unnecessary because he doesn’t have much to do. I get the impression Black became available after the script was completed and went through a small revision to include him. It’s all low-stakes but that’s what makes it a less intense experience than the first one, making it easier to recommend for smaller children…but parents should still heed the PG rating if your kid is of the nervous variety or else plan to invest in a nightlight.

I’m liking these low-impact scary films targeted at families more and more as studios start to get the idea of how to make them not quite so scary. While it isn’t something I would normally seek out in theaters, both Goosebumps films (and a second sequel hinted at in the finale) have been pleasant diversions to the more intense creepy fare that rises from the dead this time of the year.

31 Days to Scare ~ Deadly Blessing (1981)

The Facts:

Synopsis: After her husband dies under mysterious circumstances, a widow becomes increasingly paranoid of the neighboring religious community that may have diabolical plans for her.

Stars: Maren Jensen, Sharon Stone, Susan Buckner, Michael Berryman, Lois Nettleton, Jeff East, Douglas Barr, Lisa Hartman, Ernest Borgnine

Director: Wes Craven

Rated: R

Running Length: 100 minutes

TMMM Score: (7.5/10)

Review: Hard to believe it now, but back in 1981 when Deadly Blessing was released director Wes Craven wasn’t nearly the household name he would become. Coming off of directing the intense The Last House on the Left and the bizarro The Hills Have Eyes (both of which would get lesser remakes decades later), Craven dialed down his extreme style for this moody chiller. Though not well received by audiences or critics, it was interesting to view this one for the first time. While Craven was never someone that was consistent from film to film, he had good eye and that’s what keeps Deadly Blessing afloat for much of its run time.

Jim Schmdit (Douglas Barr) grew up as a member of the Hittites (think Amish) but left the religious community to marry.  Inheriting a family farm, he’s returned with his bride Martha (Maren Jensen) much to the judgmental dismay of his father Isaiah (Ernest Borgnine) the elder in their order. When Jim dies in a suspicious accident his family that disowned him feels the land should revert to them and not to Martha.  Martha intends to stay but when her two friends arrive for support and strange accidents start to happen, it’s up to her to find out if Isaiah is behind it all or if there aren’t more malevolent supernatural forces at work.

I’ve mentioned before how much I frequented the horror section of my local video store as a child.  I can still remember seeing the Deadly Blessing VHS staring back at me but, alas, it’s never one that made it home.  I actually think had I seen this as a teen I’d have been disappointed – back then I was all about the gore and high stylized horror flicks and Deadly Blessing isn’t overzealous with blood and guts.  It’s more character driven than you might expect and while there are some tepid performances (Jensen is a snooze…a pretty snooze…but a snooze all the same) it’s a mostly well acted affair.

Playing Martha’s best friends are a young Sharon Stone (Lovelace) and Susan Buckner (Patty Simcox in the movie version of Grease) and they are often the highlights of the film.  Stone seems to go off the deep end pretty quickly (you would too if a giant tarantula fell in your mouth!) and never quite comes back from the brink which results in feeling like her performance is way too overbaked. That stands in stark contrast to Buckner’s nuanced take on the character – she’s a nice breath of fresh air and I wonder how much more effective the movie would have been if she and Jensen had switched characters.

Craven stages some sequences with a nice amount of tension, like the scene where Jensen is relaxing in a bathtub and someone releases a huge snake into it with her. Though it’s almost a shot-for-shot preview of what he’d do three years later in A Nightmare On Elm Street (the snake head pops up between Jensen’s legs like Freddy’s glove does with Heather Langenkamp) it’s highly effective. I definitely subconsciously lifted my legs off the floor and tucked them in under me.  There’s also a creepy scene with a couple attacked in a car and some nice point of view shots where we become the person stalking Jensen and company.

The conclusion of the film was a genuine surprise and who (or what) is behind it all was kept secret right until the final reveal. Do you know how hard that is?  Though it must be said that the good will is nearly ruined by a dumb nonsensical coda the studio insisted on, for the most part Deadly Blessing is a worthwhile look into Craven’s earliest work. Special mention for the spooky score by the late James Horner (The Magnificent Seven), a future Oscar winner. Another special mention for myself for never realizing until now that Stone is featured on the poster and not Jensen…sheesh…how did I miss that?

31 Days to Scare ~ Michael Jackson’s Thriller (1983)

The Facts:

Synopsis: A night at the movies turns into a nightmare when Michael and his date are attacked by a hoard of bloodthirsty zombies – only a “Thriller” can save them now.

Stars: Michael Jackson, Ola Ray, Vincent Price

Director: John Landis

Rated: PG

Running Length: 13 minutes

TMMM Score: (9/10)

Review: To celebrate the 35 year anniversary of Michael Jackson’s Thriller, the folks over at IMAX did a pretty cool thing and re-released it in theaters for one week. Showing before The House with a Clock in Its Walls and looking scary good enhanced by 3D, it only hammered home again what a landmark achievement this was in the still-growing music video scene. All these years later, it stands as a high-water mark for the medium and is a pretty creepy mixture of horror and music.

Directed by John Landis (An American Werewolf in London) who had shown an eye for horror and comedy, there’s a sizable portion of this without any music at all and it opens with Michael Jackson and his girlfriend Ola Ray running into car trouble in the woods. Aping I Was a Teenage Werewolf from 1957, Michael changes into a beast and just before he nabs his prey we see that we’re actually watching a movie…that’s also being watched by Jackson and Ray. The meta-ness of it all aside, Ray can’t take the scares and hightails it out of the theater. Reluctantly, Jackson follows her and that’s when Thriller takes control. As they walk home Jackson’s killer vocals and unimpeachable dancing give way to an ever expanding smorgasbord of all manners of ghouls and zombies that come out to play…and dance. It all culminates around the 8:25 mark when Jackson finds himself possessed by the dead. Will Ray be able to get away or will she succumb to the creatures of the night?

I can’t tell you what a joy it was to see this projected on the huge IMAX screen in 3D. It looked like a million bucks and by the time we get to the legendary dance break I had goosebumps all over. It’s such a masterful mix of music and story tightly packaged into 13 minutes. While this was only in theaters for a week, maybe we’ll all get lucky and they’ll bring it back around Halloween – it’s worth seeing whatever movie it is paired with.  Even if you can’t see it in a theater, watch it again above and relive how good this is!

31 Days to Scare ~ Thinner (1996) 

The Facts:

Synopsis: An obese attorney is cursed by a gypsy to rapidly and uncontrollably lose weight.

Stars: Robert John Burke, Joe Mantegna, Lucinda Jenney, Michael Constantine, Kari Wuhrer, Stephen King, Walter Bobbie

Director: Tom Holland

Rated: R

Running Length: 93 minutes

TMMM Score: (5/10)

Review:  Starting with the release and huge success of Carrie in 1976, author Stephen King has enjoyed seeing the profits for numerous adaptations of his work come his way.  Studios began scrambling to buy the rights to his work and bring his tales of terror to life which is how we’ve come to have solid titles like The Shining, Christine, Cujo, Firestarter, The Dead Zone, and Misery in our libraries.  To talk about the good adaptions, you must also talk about the bad and King’s work has produced far more duds than hits…such is the case with Thinner from 1996.

Originally published under King’s pseudonym, Richard Bachman, Thinner hit bookshelves in 1984 and when it was discovered the King was Bachman isn’t wasn’t long before a studio attached themselves to the grim morality tale.  Condensing the 300+ page novel to 90 minute movie, director and co-screenwriter Tom Holland (who also wrote Psycho II and directed Fright Night) removed the, uh, fat from King’s tome and produced a slick but slack horror thriller that is passable entertainment but feels like everything about it was second-hand.

When overweight attorney Billy Halleck (Robert John Burke) accidentally runs over and kills an old gypsy woman and then gets off scott free, he incurs the wrath of a gypsy king (Michael Constantine, My Big Fat Greek Wedding 2) who puts a curse and him and others that covered up the crime.  Each person cursed has their own personal hell to endure and Billy’s is that no matter how much he eat,s he continues to lose weight at a rapid pace.  At first, that’s good news for the man that has tried for years to shed pounds and his beleaguered wife (Lucinda Jenney, Matinee) who has kept him on a strict diet.  When the weight loss begins to accelerate, and his friends start dying in horrible ways, Billy must track down the gypsy clan to get the curse reversed.

Arguably, there’s a nice concept at the heart of Thinner and had this been given a bit more money and prestige I’d imagine it could have been a sleeper hit.  The problem is that Holland never quite figures out is how to make his characters (any of them) the least bit sympathetic so we have someone to be invested in.  There’re literally no “good” people to be found, everyone has an ulterior motive to their actions or spits their lines out with such overstimulated venom you have a hard time feeling sorry when they are killed off.

It also doesn’t help the leading man is such a bore.  Burke had infamously taken over for Peter Weller in RoboCop 3 and even under that heavy costume with his face obscured he managed to overact.  He does the same thing here, saddled with a fat suit and unconvincing make-up at the beginning and eventually turning skeletal as he continues to lose fat and muscle.  I’m not sure if the make-up did this to him but Burke has this smile/grimace on his face when he’s heavier that is truly unnerving…and not in the way Holland intended.

If I’ve forgotten to mention Joe Mantegna (House of Games) up until this point he should count himself lucky.  As a tricky mobster client of Billy’s, Mantegna plays up the wise guy role to the point of parody and acts as a silly means to an end in helping Billy connect the dots to the origin of the gypsy curse.  If there’s one actor I didn’t mind, it’s the always reliable Jenney who seems to know she’s in a turkey so opts for such a small performance that it has the effect of letting her scene partners look like they’re overacting.

Not surprisingly, this was a huge box office bomb but it didn’t stop the King adaptations from coming.  It would be three years before The Green Mile would be released and in 2017 there was the one two punch of the remake of IT and the dandy Gerald’s Game for Netflix.  It’s clear the best was behind the King work at that time and while Thinner wasn’t bad enough to make studios think twice about taking a dip in the King swamp it’s prospects of being much better are keenly felt two decades later.