31 Days to Scare ~ Night School

The Facts:

Synopsis: Who’s been decapitating the innocent girls at a local night school? The police are baffled.

Stars: Rachel Ward, Leonard Mann, Drew Snyder, Joseph R. Sicari, Nicholas Cairis, Karen MacDonald

Director: Kenneth Hughes

Rated: R

Running Length: 88 minutes

TMMM Score: (2/10)

Review:  Some movies are forgotten for a reason.  I’d never seen Night School until recently and any hopes of discovering a new diamond in the rough were squelched early on. Though released in the first wave of slice and dice slasher films that appeared after the success of Halloween and Friday the 13th, Night School just doesn’t make the grade when compared to other flicks of that era.  Moreover, fans who have hailed it for being one of the first female-centric slasher films seem to be willing to ignore that the violence (and general attitude) towards its female characters is terribly lurid.

First-time (and thankfully last-time) screenwriter Ruth Avergon’s script revolves around a leather clad killer chopping the heads off women attending, you guessed it, night school in Boston’s inner-city.  While the stalk and kill scenes have a certain style to them, it’s the tripe that takes place between the kills that drags this movie down to the depths.  Avergon’s characters are one dimensional and attempts to flesh them out fail miserably in the hands of actors without the chops to get the job done.  In her first role, Rachel Ward (The Thorn Birds) walks and talks likes she’s a bit drunk while straight-laced detective Leonard Mann emotes as if his life depends on it.  As a bed-hopping professor, Drew Snyder revels in the fact he’s been cast as catnip to women when his performance is more like garlic to a vampire.  The identity of the killer is easy to spot pretty early on and the red herring finale is pretty flimsy.

88 minutes feels like an eternity when you have pacing problems and that blame falls to director Kenneth Hughes.  I guess it’s hard to expect the director of the spoof version of Casino Royale and the family film Chitty Chitty Bang Bang to have much alacrity with the horror genre.  This was not only Hughes one foray into horror but his last film ever…maybe the large drubbing this film received upon its release in 1981 played a part in that?

Horror fans can see that Night School wants to emulate the Giallo style of filmmaking popularized in Europe in the ‘60s and ‘70s.  While it goes through a Giallo checklist in rote fashion, it misses the boat on pairing that style with atmosphere as well.  There’s no shock here, no sense of danger.  All it is is a deranged killer preying on female victims that don’t do much but throw up their hands in defense and cry when being attacked.  It’s an overall icky film and one you can easily avoid.  Released in 1981 along with lasting classics like The Howling, Wolfen, An American Werewolf in London, Halloween II, and Happy Birthday to Me, this one is bottom-feeding material.

31 Days to Scare ~ Friday the 13th: The Final Chapter

The Facts:

Synopsis: After being mortally wounded and taken to the morgue, murderer Jason Voorhees spontaneously revives and embarks on a killing spree as he makes his way back to his home at Camp Crystal Lake.

Stars: Corey Feldman, Crispin Glover, Lawrence Monoson, E. Erich Anderson,  Judi Aronson, Joan Freeman, Barbara Howard, Clyde Hayes, Camilla More, Carey More, Ted White, Lisa Freeman, Kimberly Beck, Peter Barton

Director: Joseph Zito

Rated: R

Running Length: 91 minutes

TMMM Score: (8/10)

Review: It’s laughable now to think that upon its release in April of 1984 this was actually intended to be the swan song for masked maniac Jason Voorhees. I mean, the old guy still had six sequels, a spin-off with Freddy Krueger, and a remake yet to go before hanging up his machete…for now, at least. Remember, this was an era when multiple sequels were all but unheard of so for the Friday the 13th series to survive up until the fourth chapter was a bit of a miracle. Remarkably, instead of immediately seeing years into the future and the possible profits to be made, the producers made the conscious decision to close up shop and give the audience the finale they were owed.

After Friday the 13th became such an unexpected hit and spawned a quickie sequel followed by an otherwise lame-o 3D threequel, there didn’t seem to be much more to do with the story of a deformed killer offing nubile teens that are unlucky enough to enter his woods. So to tie up the loose ends, Joseph Zito was brought in as a new director and original make-up maestro Tom Savini was enlisted to make the film’s kills and their aftermath extra ooey and gooey. Zito had already directed the similarly themed The Prowler (check that one out, it’s a cult favorite) so he knew his way around the stalk and slash genre. Often called the father of Jason, Savini brought his superlative A-game to the screen, making some realistic effects jump off the screen with bloody delight.

Picking up right after the events of Friday the 13th Part 3, The Final Chapter takes its time in setting its star loose. First he’s brought to the morgue where he doesn’t stay on the slab for long and then he cuts his way back to his beloved Crystal Lake. Standing in his way is a house full of partying teens (including a young Crispin Glover and former Double Mint twins Camilla and Carey More) and a mother with two children, once of which will play a part in several of the sequels. It’s never explained why he targets this group, there’s no reference to the Camp Crystal Lake Jason called home nor do any of the characters have any relation to previous installments.

At 91 minutes, there’s not much time for character development and what little there is revolves around which guy is hornier and which girl is easiest. It has a relatively reserved pacing in the first act that gives way to multiple vignettes where victims find themselves alone and horrifically killed by the hockey-masked hellion. Though the movie was significantly cut to avoid an X rating, Savini leaves little to the imagination, culminating in a finale that ups the ante for gross out gore. Fans of the series that had been waiting for Jason to get his due must have gotten a total thrill out of seeing him hacked and whacked.

Previous entries of the franchise came off as retreads of the original or copies of other famous horror films but The Final Chapter felt like it strove to be better than the rest. With its effort to, ahem, flesh out its characters and take its time getting to the good stuff, there’s a reason why this one is held in high regard by fans. The success of this one at the box office meant there was an much reviled fifth installment greenlit and released barely a year after The Final Chapter but the series would get back into a fun groove with Jason Lives: Friday the 13th Part VI before careening downward fast again. Anytime I’m doing a Friday the 13th marathon I’ll watch the first four and, depending on my mood, throw on the sixth one for fun. Also a positive thing about The Final Chapter is that if you’ve never seen any previous film you could watch this without being too lost.

31 Days to Scare ~ Annihilation (Teaser Trailer)

Synopsis: A biologist signs up for a dangerous, secret expedition where the laws of nature don’t apply.

Release Date:  February 23, 2018

Thoughts:  Here’s another interesting project to look forward to in 2018.  Oscar winner Natalie Portman  (Jackie) stars in this adaptation of Jeff VanderMeer’s 2014 novel, the first in a trilogy.  Portman has had some high highs and low lows in the years since she won her Oscar for Black Swan but add director Alex Garlad (Ex Machina) in the mix and I’m officially intrigued to see how this one plays out.  Paramount seems to have thrown a bunch of money at Garland, though in the past he’s been known to do a whole lot with very little.  This first look at Annihilation is a nice teaser trailer that hints at some of the horrors that await Portman and her crew sent to investigate an abandoned zone disconnected from civilization known as Area X.  Co-starring Oscar Isaac (A Most Violent Year), Jennifer Jason Leigh (The Hateful Eight), Tessa Thompson (Creed), and Gina Rodriguez (Deepwater Horizon), all eyes will be on this one to see if VanderMeer’s two other novels will get a similar Hollywood shine.

Movie Review ~ mother!


The Facts
:

Synopsis: A couple’s relationship is tested when uninvited guests arrive at their home, disrupting their tranquil existence.

Stars: Jennifer Lawrence, Javier Bardem, Michelle Pfeiffer, Ed Harris, Domhnall Gleeson, Brian Gleeson

Director: Darren Aronofsky

Rated: R

Running Length: 121 minutes

Trailer Review: Here

TMMM Score: (3/10)

Review: I truly wanted to like mother!…I did.  In the weeks leading up to the screening I literally counted the days until it arrived, and if I’m honest it was more for the chance to see Michelle Pfeiffer up on the big screen again.  Still…maybe I set a bar so high that no final product that Darren Aronofsky (Noah) could have delivered would have made the grade.  Then again, the movie winds up being so vile, so grossly arrogant, and with its head so far up its own backside that it’s hard to believe anyone could leave a showing of mother! better off than when they arrived.

No sooner do the lights go down than the image of a woman bathed in flames appears.  A single tear rolls down her cheek and by the end we’ll want to cry too as Aronofsky lays everything on thick for Act 1 of this nightmare.  Not much can be revealed about mother! without leaking several key twists but if you’ve seen the trailer for the movie you’ll get a pretty good taste for what the first half of the movie has to offer.

A young woman (Jennifer Lawrence, Joy) is fixing up her older husband’s childhood home years after it was gutted by a fire.  Without asking her, the husband (Javier Bardem, Skyfall), a famous poet with writers block, welcomes a stranger (Ed Harris, The Abyss) and his wife (Pfeiffer, Dark Shadows) into their house and that opens the door for a bevy of visitors with their own inexplicable agendas.  Even before Harris arrives, the relationship between Lawrence and Bardem is so awkward you’re already curious what kind of power he has over her.  She allows him to make all the decisions, rarely challenges him, and barely raises an eyebrow when he doesn’t seem to notice that the visitors are odd with a capital O.

For a while, mother! hums along with a decent amount of atmosphere and head scratching developments that Aronofsky somehow manages to stay one step ahead of.  Lawrence plays the role with such wide-eyed growing dread that I half wonder if she was fed her scenes one at a time and didn’t know where it was all heading.  Bardem sure seems to know, though, and he starts to gnaw on the scenery in no time flat which puts him in a plum position as the film reaches its zenith about 75 minutes in.  From there it quickly descends into a delirious mess and while it gets advanced brownie points for its boldness it loses them in the same breath for going to such an abysmally rank place in its finale.  I was a bit appalled to tell you the truth, not so much for one seriously gory stomach churning curveball but for extended scenes of violence toward Lawrence that just felt so wrong.

Aronofksy and Lawrence are a well-publicized power couple in Hollywood and if this is the kind of movie Aronofsky writes and directs for someone he loves, I can’t even imagine what he’d do for someone he can’t stand.  A snuff film, maybe?  His previous works are just as divisive as mother! is sure to be but, save for Requiem for a Dream which even he couldn’t top for sheer Grand Guignol chutzpah, at the end of the day the final message he’s delivering doesn’t seem wholly original or meaningful.  In past movies, he’s tackled drug abuse, man’s inhumanity to man, and paralyzing ambition…here he’s trying to speak to everyone on the planet and the reach is too much.

Like Natalie Portman in Aronofksy’s brilliant Black Swan, Lawrence is in nearly every frame of the movie and she’s well cast in a terrible role.  Why she doesn’t just pack her bag and head out the door each time her husband does something looney tunes is maybe the biggest mystery of the entire film.  When she does decide to head for the hills, she’s pregnant and her house is being invaded by hordes of people (including Kristin Wiig, The Martian, who pops up in the briefest and strangest of cameos billed as ‘the herald’) who are there for her husband.

You’ll be surprised to find out just how little Harris and Pfeiffer are in the movie…and more’s the pity because what the final half of the movie needed is the spark Pfeiffer brings to each of her scenes that are front-loaded into the first hour of the film.  Always a favorite of mine, Pfeiffer is gleefully loosey-goosey as a gin-soaked annoyance who pushes Lawrence’s buttons with delight.  She’s rarely been this relaxed in the last decade of her career and while it isn’t the Oscar-winning performance the studio is gunning for, she’s the best thing about the movie by a longshot.

With dizzying camerawork by Iron Man’s Matthew Libatique (seriously, bring a barf bag) and a purposefully irritating sound design, the technical elements are sharp as a tack in true Aronofsky style.  The sound is so specific by making sure you hear each floorboard creak and droplet of water falling in a copper sink that there are times when I swear you can hear the actors blink.  A little of that goes a long way and by the finale when all hell is breaking loose (literally) it becomes an overwhelming cacophony of visuals and sound that you’ll be desperate to break free of.

While I just can’t bring myself in good faith to endorse this one, if anything, mother! will be a fun movie to dissect over drinks after…but take my advice and steer clear of food before, during, and after.  While there was potential for something interesting to take shape with the strong elements Aronofsky has assembled, at the end of it all I just wanted my mother…to give the director a good whack upside the head.

The Silver Bullet ~ Suburbicon

Synopsis: This is a tale of very flawed people making very bad choices. This is Suburbicon.

Release Date:  October 27, 2017

Thoughts: Oh goodness, what to say about this weird little trailer?  Though it boasts an appealing array of stars in front of and behind the camera, I’m just not sold on moving to Suburbicon at first glance.  As is the case with most previews lately, too much is given away in the trailer, apparently leaving very little to entice audiences to want to know more.  Director George Clooney (Tomorrowland) and writers Joel and Ethan Coen (Hail, Caesar!) are going to have to bank on more than just fans of Matt Damon (Promised Land), Julianne Moore (Still Alice), and Oscar Isaac (A Most Violent Year) to get the word out about this tough sell.  To me, it looks too much like it will feature the worst of the Cohen’s back of tricks and Clooney’s strange directorial missteps.  While I’m always intrigued about films set in this era, it already feels like it’s going to be a chore to sit through this one.

Movie Review ~ Office Christmas Party

office_christmas_party_ver4
The Facts
:

Synopsis: When his uptight CEO sister threatens to shut down his branch, the branch manager throws an epic Christmas party in order to land a big client and save the day, but the party gets way out of hand…

Stars: Jennifer Aniston, Jason Bateman, Vanessa Bayer, Jillian Bell, Jamie Chung, Rob Corddry, Abbey Lee, Kate McKinnon, T.J. Miller, Olivia Munn, Karan Soni, Courtney B. Vance, Matt Walsh, Da’Vine Joy Randolph

Director: Josh Gordon, Will Speck

Rated: R

Running Length: 105 minutes

TMMM Score: (6.5/10)

Review: In the new comedy Office Christmas Party, Kate McKinnon (Ghostbusters) plays Mary, a Human Resources manager at a mid-range tech company that’s business in front and no party in the back.  When branch manager Clay (T.J. Miller, Daredevil) and CTO Josh (Jason Bateman, This Is Where I Leave You) want to throw a bad-ass Christmas party to impress a much-needed new client (Courtney B. Vance, Terminator Genisys), Mary’s HR violation antennae pop up and she tries her hardest to derail the frivolity before giving in and just having fun with it all.  Plenty of critics venturing out of their hovels to catch OCP will be Mary’s and implore you to stay home but ‘tis the season to be jolly and this critic thinks this Party is worth an HR write-up.

Look, Office Christmas Party isn’t the be-all, end-all of raucous, growth-stunted juvenile comedies but it has its fair share of laughs and rambles along for most of its 105-minute running time with an inordinate amount of goodwill.  Maybe because I saw it on a Monday with a busy week at my own 9-5 job staring me down, but I (usually so averse to ribald druggy humor) found myself entertained by Miller, Bateman, and co who have set out not to redefine the raunchy comedy but to give audiences who can’t stomach the sight of Billy Bob Thornton in Bad Santa 2 an alternative option.  Then again, stomaching Thornton in anything is a feat in and of itself.

When Clay’s CEO sister Carol (Jennifer Aniston, We’re the Millers, yet again reveling in a role with a mean streak) announces plans to reduce the workforce at her brother’s failing branch right before the holidays, Clay and Josh make a play to nab a high-profile client (Vance) by showing him how well their company rewards its employees.  Trouble is, most of their workforce is already disgruntled and apathetic in their antiseptic office so whatever Clay and Josh do it has to be big…really big.  Along with the head of technology (Olivia Munn, X-Men: Apocalypse), they pull out all the stops in a few hours to put on a boffo holiday gathering that quickly devolves into a Sodom and Gomorrah style bash complete with co-worker make-outs, drug- fueled stunts of stupidity, and a bevy of genitals photocopied on the office machine.  Sounds kinda nasty, right?  I have a real nose for the overly lewd and while I got a few good whiffs I never thought this tipped the scales into plain bad taste.

It’s a minor affair to be sure, written and directed without much originality…but it’s the performances that help to elevate this one slightly higher than its peers.  I’ve found that a little Miller goes a long way but even in his more ADD moments the actor never lets us forget his character it good natured and the kind of people pleasing boss we’d all like to buddy up to.  Bateman is at his most Jason Bateman-y here, again playing the straight man at the center of some very zany periphery performances.  Bateman’s dirty scene with an ice sculpture and egg nog lets the actor venture slightly out of his comfort zone and for that alone I appreciated it.  McKinnon, Vanessa Bayer (Despicable Me 2), Jillian Bell (22 Jump Street), Rob Corddry (Warm Bodies), Abbey Lee (The Neon Demon), and Karan Soni (Safety Not Guaranteed) are but a few of the party goers that make an impression.  Only Munn disappoints…I continue to be stumped at what makes Munn in any way appealing aside from the fact that she always seems to be happy with being just one of the guys.

While it isn’t the kind of movie you could see as a holiday outing sponsored by your work, Office Christmas Party is a decent choice for adults looking for an R-rated holiday romp.  Like most parties, it might end up being one you want to leave early but being the last one out the door won’t kill you either.

The Silver Bullet ~ Baywatch

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Synopsis: Two unlikely prospective lifeguards vie for jobs alongside the buff bodies who patrol a beach in California.

Release Date:  May 19, 2017

Thoughts: Winter is definitely coming and if you need a way to stay warm until the summer months I can’t think of a better way to do it than to keep the new trailer for Baywatch on repeat.  What started as a more serious show on network TV turned into an 11-season soapy sun and sand action show that featured a rotating roster of buff guys and beautiful women either before or after their Playboy debuts.  Now comes a big screen take starring Dwayne Johnson (San Andreas) and Zac Efron (That Awkward Moment) and it looks like a whole lot of fun.  I can already tell it’s been carefully made to gently lampoon its source material while giving its stars the maximum shirtless screentime.  Fine by me and as the song goes…”I’ll be ready”.  I doubt this one will need saving when it arrives in May.

The Silver Bullet ~ Silence (2016)

silence

Synopsis: In the 17th century two Jesuit priests face violence and persecution when they travel to Japan to locate their mentor and to spread the gospel of Christianity.

Release Date: December 23, 2016

Thoughts: Much like Martin Scorsese’s The Wolf of Wall Street in 2013, Silence is a late breaking entry into the serious awards season discussion.  Buzzed about for months (years if you count its overall development time) but as yet unseen, you never can really tell where a Scorsese flick will land in the eyes of critics but Silence looks compelling from the outset. Tackling the not super blockbuster themes of Christian oppression in a foreign land, it certainly has the visual hallmarks of a Scorsese film…including a lengthy run time.  Stars Andrew Garfield (The Amazing Spider-Man) and Adam Driver (Midnight Special) are stars continuing to rise and if you believe early odds, Liam Neeson (Non-Stop) could net a Best Supporting Actor Oscar for his work.  We’ve got a few more weeks until Silence roars into view but count on this one to factor heavily in Oscar talk as the year concludes.  

31 Days to Scare ~ Jennifer 8

jennifer_eight_ver1

The Facts:

Synopsis: A big city cop from LA moves to a small town police force and immediately finds himself investigating a murder.

Stars: Andy Garcia, Uma Thurman, Lance Henriksen, John Malkovich, Graham Beckel, Kathy Baker, Kevin Conway

Director: Bruce Robinson

Rated: R

Running Length: 124 minutes

TMMM Score: (8/10)

Review: Jennifer 8 is a mystery/thriller that won’t work for many people but it’s been a reliable favorite of mine over the years.  In all honesty, the more I watch it the more I see the gaps in writer/director Bruce Robinson’s screenplay but it just doesn’t seem to change the way I feel about the movie as a whole.  Rich in atmosphere and at times decently creepy, it has fine performances and a true “what the hell” ending that I find to be a lot of fun.

After his marriage ends in divorce, L.A. policeman John Berlin (Andy Garcia, Ghostbusters) takes an old colleague (Lane Henriksen, Color of Night) up on an offer to join his police force in a remote northern California town.  The sleepy hamlet might be the right place for Berlin to heal and recover from the wounds of his failed union.  Shortly after he arrives a severed hand is discovered in a local dump and when the appendage is identified as belonging to a girl from a local institute for the blind, Berlin becomes embroiled in the case of a serial killer and a blind woman (Uma Thurman, Pulp Fiction) who could be the next victim.

There’s a lot that goes on in Jennifer 8 that isn’t fully explained…starting with the title.  A vague reference is made to a string of supposed victims of the killer under the code name Jennifer but the victims don’t add up to 8.  Then there’s a coincidental entry in a notebook from a murdered acquaintance that seems to inadvertently point to Berlin as a potential suspect, necessitating the appearance of John Malkovich (Zoolander 2) as an FBI interrogator out to prove Berlin made up the serial killer to cover his own tracks.  And Robinson adds in so many red herrings that when the solution is revealed you may be tempted to hit rewind to view it again and then pause it to draw the connections together in your head.

What does work for the film are the performances from Garcia, Thurman, and especially Kathy Baker (Saving Mr. Banks) as Henriksen’s wife.  Thurman blank stares with the best of them and Garcia’s frustration boils over so violently that his Cuban accent pops in frequently.  Christopher Young’s (Sinister) piano/string score is beautifully haunting and cinematography from three time Oscar winner Conrad Hall makes excellent use of shadows, the deserted corridors of the institute where a killer hunts, and the rain/snow soaked landscapes of the town.

The resulting film may be a bit overstuffed for audiences and I know there will be those that scoff at the finale Robinson cooks up…but I like it all.  It seems to be made with a classier touch than it probably deserved and though it was box office and critical disappointment I would call this one vastly underrated.  Decide for yourself, though.

31 Days to Scare ~ Let’s Scare Jessica to Death

lets_scare_jessica_to_death

The Facts:

Synopsis: A recently institutionalized woman has bizarre experiences after moving into a supposedly haunted country farmhouse and fears she may be losing her sanity once again.

Stars: Zohra Lampert, Barton Heyman, Kevin O’Connor, Gretchen Corbett, Alan Manson, Mariclare Costello

Director: John Hancock

Rated: PG-13

Running Length: 89 minutes

Where to Watch: DVD/Vudu/Amazon

Review: When I was a kid, the box cover for Let’s Scare Jessica to Death really freaked me out…and intrigued me at the same time.  It was years before I finally saw it and by that time I had taken in all types of less than subtle horror gore-fests so its lackadaisical pacing and open for interpretation finale left me less than impressed.  Viewing the film now with a more forgiving eye and taking into account the time period it was made, Let’s Scare Jessica to Death emerges as an atmospheric and creepy excursion.

Released in 1971 when the horror genre was lying dormant in between its ‘50s heyday and ‘80s renaissance, this is a low budget endeavor with a tiny cast and extras culled from the Connecticut hamlet where it was filmed.  Opening at the end (or what we think is the end), Jessica (Zohra Lampert) recounts how she came to be sitting in a boat bathed in golden sunlight.  Jumping back several days, we see Jessica, her husband (Barton Heyman), and their friend (Kevin O’Connor) traveling to an idyllic farmhouse where Jessica can continue her recuperation after suffering a nervous breakdown.  Before they even arrive, Jessica catches sight of a girl (Gretchen Corbett) in an old cemetery…or did she?  Writer/director John Hancock (who was famously hired and subsequently fired from directing Jaws 2 in 1978) effectively scripts in Jessica’s inner-thoughts and the various ways she tries to convince herself she’s not falling apart and seeing things again.

As they approach the farmhouse (did I mention they are traveling in a hearse?) they encounter several locals who don’t seem very happy about the arrival of outsiders or where the trio has chosen to stay.  Before they can even unpack they catch Emily (Mariclare Costello), a pretty squatter who saw the empty house and claimed it as her own.  Since it is the time of peace, love, and understanding, they let her stay.  All three begin to fall under her charms…but only Jessica starts to see a figure in a white dress under the surface of the lake and wandering around her house.  A figure that looks an awful lot like the woman from an old picture in their dusty attic thought drowned on her wedding day but whose body was never found. An apparition that resembles…Emily.

At 88 minutes, the film feels closer to 120 thanks to its slow development but it’s punctuated by several spine-tingling moments when Jessica begins to unravel and question everything around her. Is her husband trying to drive mad and carrying on an affair with Emily? Why do all the townspeople have scars on their necks and bandages on their arms? Are the voices in her head real or imaginary?  What about the other girl from the cemetery that seems to be leading Jessica to bodies and clues to the local mystery?

Aside from Costello, this is a very ordinary looking (read non-Hollywood) cast which helps instill a bit of realism.  Heyman and O’Connor’s characters aren’t fleshed out that much so it falls to Costello and Lampert to carry the film.  Costello is nicely mysterious, never telegraphing what’s happening next but clearly showing something isn’t right from the get-go.  It almost feels like Lampert was fed the plot in pieces because her actions and reactions seem genuine.  She can’t trust herself so she deeply wants to trust others; when that security disintegrates, Jessica becomes increasingly erratic and unstable.

While it has several gaping plot holes that can’t be totally forgiven, Let’s Scare Jessica to Death is an interesting find as an early horror entry of a new decade. Unlike it’s genre siblings that followed, it’s low on gore and nudity and likely will be too slow for most to take in and appreciate.  I’ve long since gotten over my fears of the poster art, but the film leaves a cool shiver in its wake.