Scream (2022)

Once upon a time, the horror movie flourished across the land. It was a magical decade called the 1970s. Chainsaws, flamethrowers, butcher knives, axes, gas masks… anything you wanted, as long as it resulted in dead teenagers, it was fair game. But then: disaster! The drive-ins closed, for some reason, and there was no longer a place for the horror movie to exist. Or was there?!

And then, in one of nature’s cruelest ironies, the horror movie discovered the VCR. Because, what you’d think is: hey, a way to survive! But what actually happened was, there were millions of VCRs, instead of thousands of drive-ins, and everyone knows that capitalists abhor a vacuum. Which meant, so many horror movies got made. And they were…. not good. I mean, of course some of them were, but by and large, they weren’t.

By the mid ’90s, the horror movie tottered on the edge of extinction. But then, something incredible happened. Scream was a post-modern, snarky, thoroughly Gen-X deconstruction of the past two decades of horror movies. But not only did it make fun of everything around, including itself, it simultaneously brought back the mystery part, and it did it extremely well. Who was the killer? Was it even possible to figure it out? It wasn’t, but best of all, not because the movie cheated. It was impossible because it was playing by a new set of rules that nobody had ever heard of. And suddenly, it was okay to like horror again. Which meant it was okay to make horror again. Mostly not big budget multiplex horror, as the studios were still feeling burned by the crash, but small screen, curated, indie horror? Easy to find, and even better, easy to find stuff that was well made[1] and that was penned by people who understood the way the genre was supposed to work.

None of this is a review of Scream, which somehow managed to have the same title as its 25 years earlier predecessor (and, in true Scream fashion, made fun of itself for doing so). But it also put a name to something I was just discussing here, about the trend of bringing horror movies back to their original roots, even after multiple sequels or remakes have been made: this was a requel, which is to say, a reboot that is also a sequel. You have the original characters, but you also have a bunch of new characters, and you have the same title, and you’re basically making the same movie you made 25, or 40, or 45 years ago.

And that’s the deal. As Koz put it: if you liked the original movie for its metacommentary on the horror movie, and if you are okay with requels, this thing is pretty much A+ primo. Even though Wes Craven has shuffled off, and was well memorialized here, the people who are still around still know what a Scream movie is and what it should be doing.

Also: this is the first and probably only movie I’ve seen that went out of its way to make fun of the people who hated Star Wars Episode 8. (I don’t mean the people who quibbled with its runaway sharp divergences from the previous movie even though it was nominally part of a trilogy, I mean the people who hated it. You know, because all their heroes were no longer perfect and they maybe should have been listening to the ladies instead of being dumb luck Star Wars heroes. Those people.) The fun-making was well-deserved, and will probably not be noticed by anyone who should, and would not be listened to if they did. But I quietly snickered to myself.

[1] I’m being unfair to the ’70s, here. Because plenty of horror in the ’70s was shoddily made at best. But it always had heart, it was made by people who were living out their dreams. What came later was a nonstop cash-in, and it showed.

Texas Chainsaw Massacre

Somebody[1] watched Halloween (the recent one, not the first one) and thought to themselves, hey, if they can bring back Laurie Strode and Michael Myers, I can bring back Sally and Leatherface.

You know, I could nearly have stopped the review right there?

So there are these Austin[2] hipsters with far more money than anyone should have at the age when they could be aptly described as hipsters, who have decided to buy up all the main street property in a tiny town that happens to be where a certain massacre occurred in the early ’70s, a massacre with one survivor, a massacre that has never been solved, a massacre that at least tangentially included a chainsaw.

You know the one.

Since Austin hipsters are the new Austin college kids, you can of course imagine that this is going to be very triggering for that one fellow who never got caught, and him being triggered is going to be very triggering for the survivor I mentioned. And from there, well, I think the script to Texas Chainsaw Massacre writes itself, you know?

I guess the main thing is, all these psycho killers are getting way too old to a) still be psycho killers and especially b) shrug off that many gunshot wounds. Your Jasons and your Freddies are explicitly supernatural, so they get a pass, but these guys? I’m not sure I buy it. Plus, there was something a little bit wrong about bringing back Sally, but not as Marilyn Burns, may she rest in peace.

I wonder if Tobe Hooper would have signed off on this.

[1] and by “somebody”, I mean Kim Henkel
[2] Or maybe somewhere else? It’s weird to have someone talk about it being a 7 hour drive to somewhere near Austin, but also they are big city folks with their big city ways, because Austin is either much closer to or much farther from anywhere that could be described as a big city. But if they meant 7 hours from Austin, I simultaneously salute their understanding of Texas while rolling my eyes at their conception of where the original Chainsaw happened. No matter how I look at it, you can tell I’m overthinking things.

Nightmare Cinema

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Framing device for a horror movie compilation: people walking by a Bijou-style single screen theater see that the movie showing on the marquee stars themselves, so they wander in and watch it. Also, Mickey Rourke is there running the projection booth and being super judgy to the people who have come in. Later, they individually watch their movies (inverted teen slasher, I see dead people, demonic possession, another one I can’t really describe well[1], and one I forgot entirely except I had more time to think during the footnote, and it was body horror I guess?) while Mickey Rourke gets more judgy, and then at the end, he’s not judgy about someone, for reasons that eluded me.

Nightmare Cinema was a mixed-results but mostly entertaining compilation, though as you can see the framing device was basically terrible. Oh, well.

[1] Also, perhaps unsurprisingly, it was the best of the bunch.

Prey (2017)

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For all that it’s five years old, Prey is one of the best games I’ve ever played, and certainly the best one I’ve finished in recent memory[1]. (I need to get back to Pillars of Eternity. And also Horizon Zero Dawn.)

It is approximately like, what if Half-Life, but extremely modern and therefore with the ability to have and track quests and side quests, and the survivors you meet are actually able to, on occasion, take care of themselves a little bit instead of solely serving to keep you in a somber mood. You can play guns blazing, or extreme stealth, or anything in between, while being as kind or cruel or unconcerned as you prefer. In a different world where I didn’t have an infinite number of massive games I wanted to play, nevermind the smaller ones, I might be inclined to play this again with a different focus. I happen to know there are things I never saw because I played differently than what would have allowed me to see them.

As far as the plot: go in as blind as you can. All I knew was a) praise and b)… actually, I can no longer swear what I knew about b), so it would be unfair to say anything, wouldn’t it? But the game starts off on your first day joining your big brother in the family business. Wake up, get ready, fly across town in a helicopter while the credits roll, then take the evaluation tests you need to pass to go up to the space station where the real magic (by which I mean science) happens. Only, the tests don’t really make even a lick of sense? And why is that table running around, and why are the alarms going off? And then things get weird.

In conclusion, I liked it really a lot. The plot twists never really stopped, no matter how far into the game you think you’ve gotten. I am uncertain about the expansion? But I would play the hell out of a sequel.

[1] “Okay, but what about Hollow Knight?” It’s like this. They are both exemplars of their respective types of game, but Prey has the better plot. HK has the better mood, if that makes you feel okay about things.

Host (2020)

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I wonder if there’s a useful distinction to be made between found footage movies and webcam movies. The latter is clearly a subset of the former, but in the age of Covid, there has been an explosion of the webcam footage type. The benefits are obvious: actor separation, no camera man presence, no director presence, set dressing can be done by the actors or at least prior to their presence. I’ll admit, I’m not perfectly clear on how ghostly cabinet slams and other movement based special effects are handled. Maybe by radio control?

Although, to be honest, I wasn’t even entirely sure whether I should review Host. Weighing in at under an hour, is it really distinct from some Sunday evening special TV episode? But then the choice was made at least somewhat for me by my having fought with maybe a thousand spams over the past two weeks, all in the older sections of my site where long overdue updates were needed to modernize the reviews. Since I haven’t watched any other new movies in that span, here we are.

A bunch of British friends (mostly ladies) are on a Zoom call to hold a seance with their hired guide. One or two of the characters seem regularly and visibly upset, which makes me think there was a recent death? But if this was made clear, I do not recall. What quickly[1] is made clear is that something spooky has shown up, and between the seance leader dramatically falling offline and the others not being as good at remotely performing the “nevermind, go home” ritual as they were at performing the “welcome, spirits” ritual in the first place, you know back when they also had leadership, it is only a matter of time[1] before things start to go fubar, supernaturally speaking.

Arguably, I’ve now spoiled the whole movie, but the other option, which would have been mandatory, is to spoil it in the other direction when the webcam seance resulted in nothing interesting happening at all, because that would have been some real bullshit.

[1] It’s like 56 minutes long. “Quickly” was the only option.

Ruin Me

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I’ve reviewed at least one or two “extreme” haunted house horror movies lately, and they mostly leave me to conclude that, nah, I don’t want to go to one of those whether it’s a front for a shadowy serial killer ring or not, because I have no interest in taking a chance that they might use the spider shower ploy.

But then Ruin Me comes along, and it actually works on me. The idea is, you signed up for a horror movie weekend. That is, the small group of you thrown together by ticket purchase timing have signed your waivers and been given your safewords, and now you’re dumped off in the woods to survive the weekend. Since that’s clearly not enough to go on, there’s also a gamified escape room aspect to it, where you have to follow clues that lead you into the horror movie proper. Just sitting against a tree waiting for a killer to show up would be pretty boring to film, you know?

Here’s what makes it work, as both a viewer and as a prospective client of the real life version of the concept: there’s a real and to an extent insurmountable tension between the “is this so real because, oh shit, it’s real?!” and “man, they are doing an exceptional job here, which, honestly: if they weren’t, why did I pay so much?” scenarios.

The execution here was not quite perfect, but I’ll forgive a lot when you can keep me guessing for this long and it’s not because you just cheated to get me there.

Eclipse at Noon

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A thing you would have no real reason to remember: Circle Thrice[1] ended on a cliffhanger. (Also, I read that a year ago?? I do not read enough. This is not the first time I’ve said this lately, but.) So anyway, though, cliffhanger.

That aside, Eclipse at Noon is mostly about old enemies and new riverboat rides. I’ve never been on a riverboat, but it mostly sounded like what I expected cruise ships to be like, except for the paddle and all. Also: smaller than that. This continues to make me wonder if cruise ships were just a lot fancier in the ’80s and ’90s versus how they are now, which is sort of middle class chic, for some reason.

Anyway: the story was approximately what I’ve come to expect, with guns and mutants and the promise of more teleporting around (although not any just lately). Also, some random old enemies that we’ve never heard of before, but as good a job as this series does of recycling old encounters into new ones, I cannot fault them for once in a while saying, look, guys, remember this stuff that happened to us before the series started?

The title thing, though: I can perform some mental gymnastics to force a metaphor about how just when things were finally going nicely for the first time in a while, with the cliffhanger resolved and some fancy big meals and a riverboat ride in the offing, oh no, their “high noon” is being “eclipsed” by this sudden old enemy machinations thing, but… yeah, I’d prefer more literal and less maybe metaphorical but maybe just “this sounds kind of cool, right?” titles, for my cheap men’s adventure sci-fi thriller series. I guess I’m just old-fashioned that way.

[1] That is, the previous Deathlands book.

Nina Forever

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I have seen a lot of kinds of movies, and I have especially seen a lot of kinds of horror movies. This is probably a thing you’re aware of, but I feel the need to state it baldly just so my next pronouncement has the proper impact.

I have never seen a movie like Nina Forever.

It starts off as an earnest in-your-twenties romance movie, with a lot of back and forth cuts between the present and the future, even though those are like ten minutes apart, to demonstrate how artistic and sensitive it all is I think. Then it veers sharply into a horror sex comedy mashup that has to be seen to be believed. And then the sex comedy part gradually erodes, leaving an uncomfortable mix of the original earnest romance movie and an increasingly dark psychological horror movie, of the type you would not have believed possible when that insane mashup part started. And the throughline is constant gore, but with essentially no violence.

Like I said, I’ve never seen its like. At heart, it’s a movie about the stress that prior relationships have on current relationships, and about the difference between 20 and 30. It is sexy, and it is hilarious, and it is dark and foreboding and grim, and I think I recommend it with basically no reservation. (Well, except maybe be old enough for “the difference between 20 and 30” to mean anything at all to you.)

 

Perempuan Tanah Jahanam

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I think I like the Indonesian title better. “Woman of the damned land” is kind of badass, you know? Whereas, I cannot really determine what Impetigore is supposed to mean. My best guess is that it’s a portmanteau of the Latin “impetigo”, meaning to rush upon and attack, and “gore”, meaning buckle up and get ready for buckets of the stuff. And I’m sure that by Indonesian standards there was rather a lot of the stuff? Nah, that’s not fair. Whatever else this was, it was not a tame movie.

Imagine, if you will, that you are a broke-ass tollbooth attendant trying to determine how to make ends meet with your best friend who is also a broke-ass tollbooth attendant, only she’s a little more worldly than you are, and there’s been this creepy guy perving on you for a few days in a row, and now he’s identified you as a person with a different name from a village so small it isn’t on the map, and also tried to kill you with a machete because they in the village don’t want “your” curse anymore. So you dig through stuff your aunt left you when she died, and find indications that your long dead parents did in fact come from that village, and they have exactly one picture of you, when you were five right before they died and you went to live with your aunt, and as if it weren’t weird enough to only have the one picture, that picture has the name the machete-wielding perv called you by.

If I were that girl, I’d maybe run away from Indonesia or something? Not her. She sees the big expensive house in the background, and, remembering that they are both broke-ass 20-somethings, they decide to hare off to the remote village so they can sell the house and stop being quite so poor, even if the village is populated by the kind of dead-eyed people you would expect to find in Resident Evil 4.

All’s I’m saying is a) that is a really good setup, and b) between this and Satan’s Slaves (by the same director and producers), it’s fair to say that Indonesian horror cinema is having a moment.

Lastly, I have a thing that I do not know if I learned about Indonesian culture or that I learned about the writer or director of the film, or a thing that I learned about the makeup effects artist. But seriously a lot of people, with moderately implausible frequency, threaten suicide, and suicide of a very specific type at that. This is where I need a Joe Bob Briggs to come along and do my research for me and explain which one of the above is at play here.

Sex Appeal (2022)

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What if a teen sex comedy, but without anything explicit (other than the language)? Actually, it a) worked pretty well[1] and b) was surprisingly sweet. Sex Appeal tells the story of a STEM-focused high school valedictorian[2] who is unexpectedly confronted with a concept she’s never had to consider before. (It’s, uh, a partner who is interested in a physical relationship.) So, she decides to kill two birds with one stone by creating as her entry into an upcoming competition a phone app that coaches people into having great sex.

Unfortunately, she’s an emotionless robot, and the people around her who are tasked with experimenting to get everything just right aren’t[3]. It was funny, though probably not funny enough that I shouldn’t have watched something on Shudder instead. But I will say that at no point was it predictable, and that’s not nothing.

[1] The metaphors that replaced the sex scenes were the correct amount of over the top, for example. Perhaps not the “hilarious” that they were going for, but definitely lavishly overstated.
[2] The kind that only exist in movies, who are given the run of the school, can interrupt anything at any time with no consequences, can even ignore classes that they consider irrelevant and nevertheless the faculty all love them. Movies are weird, yo.
[3] Aren’t emotionless robots, not aren’t people. It’s not that kind of movie.