The Others (2001)
★★★★ / ★★★★
Some people unjustly claim that this was a rip-off from “The Sixth Sense” (because both movies have ghosts in them and have a twist ending) but I am more than willing to argue that this is a movie of its own. Nicole Kidman perfectly embodies a cold-mannered mother who, despite of her intimidating aura, loves her children very much. I love the fact that we get to know her in a matter of seconds: she has no room for excuses, is devoutly religious, and likes structure. Written and directed by Alejandro Amenábar, right from the beginning we know that there’s something wrong with the characters, the place where they live, the fog that surrounds the mansion, and the broken memories of the children. However, we cannot quite put our finger with what exactly is wrong so figuring it out is half of the fun that this film had to offer. On our way to discover the big mystery, “The Others” is able to deliver genuine scares because we do not know what exactly is going on, aided by the fact that each corner of the room is covered in darkness (the children have a condition which involves their skin being sensitive to light so their mother is obsessed with locking every door and keeping the curtains closed). This movie proves that a horror story does not need special effects in order to generate thrill and tension. What it needs is a creepy atmosphere, unsettling setting, and a spice of great acting. Although pretty much everyone knows its ending by now (it’s quite unforgettable), it is still interesting to see the characters’ journey to enlightenment (and ours), how it elevates the tension, and how it reaches the conclusion. The filmmakers do not cheat its audience unlike many “horror” films out there that pull of a twist for the sake of “shock” value. This is the kind of movie that I do not mind watching again once in a while because it is so professionally done so I can’t help but appreciate its craft. And quite frankly, the more I watch it, the more I love and respect it because while it is a solid horror film, its religious implications took it to the next level. If one is to look closely, the movie is not anti-Christian, it’s pro-thinking.
The Haunting in Connecticut (2009)
★★ / ★★★★
I was surprised by how much this film was grounded in reality even though the trailers sold it off as a typical “based on a true story” demonic possession. Virginia Madsen and Martin Donovan star as the parents who choose to move in a house with a creepy history because their son’s (Kyle Gallner) cancer treatment facility is nearby. It’s not long until spirits start to get themselves known to Gallner’s character in truly horrifying manners. I really admired the first thirty minutes of this horror flick because things that most people would consider as supernatural are things that can happen to cancer patients going through various therapies (i.e. hallucinations). I wish Peter Cornwell, the director, decided to keep straddling the line between science and the supernatural because it’s very reminiscent of “The Exorcist.” To me, the closer a horror film is to reality, its resonance after I leave the theater is amplified many more times as opposed to a horror movie that’s so unbelievable to the point where it loses its power. Unfortunately, this movie is the latter. Another frustration that I had with it was the film’s use of soundtrack to cue that something terrifying is happening on screen. I was really taken out of the moment whenever the soundtrack would be heard; most of the time, I don’t like outside cues to tell me how I should be feeling especially when the obvious is being shown on the screen. Its scares would’ve been more effective if there was less jarring creepy sounds–let the creaks of each footstep or a body hitting furnitures do all the work. After all, this is a horror film about a house with a questionable past (in the least) so the-less-the-better technique could’ve done wonders. As for its acting, I thought everyone did pretty good but I felt like Gallner was holding back. I’ve seen him in several television shows and movies so I know that he could’ve done more. Still, “The Haunting in Connecticut” had three or four solid scares so I’m giving it a mediocre rating. However, it would’ve been so much better if the booming soundtrack during scares was kept at a minimum or was not integrated at all.
★★★★ / ★★★★
Even though this animated film is targeted toward children, what I love about it is that it’s not afraid to show menace in order to engage its older audiences. Written and directed by Henry Selick, “Coraline” reminded me of a blend among “The Nightmare Before Christmas,” “James and the Giant Peach,” “The Orphanage” and “Alice in Wonderland.” Not only does it have many implications about growing up and dealing with the realities of life, it also has something to say about alternate realities and the power of imagination. I thought Dakota Fanning as Coraline is an excellent choice because Fanning has that certain edge that’s both friendly yet sarcastic at just the right moments. Teri Hatcher as Coraline’s mother and Other Mother is a good choice as well. Having seen Hatcher in “Desperate Housewives,” I thought she was more comedic more than anything so wasn’t sure that she was going to deliver. However, she proved me wrong. The stop-animation is absolutely stunning. Right from the first scene, you can easily tell that the filmmakers did the best they could to produce a work of art that deserves to be remembered for a very long time. I’m willing to bet that this film will be regarded as a classic, like “The Nightmare Before Christmas,” in about a decade or two. Sure, it’s scarier than the films previously mentioned but that’s what makes it different from other children’s movies. This animated flick is not afraid to use certain adult language, show certain exaggerated body parts, and a story that can potentially drive children to their parents’ bedroom on the night after watching it. Even I got scared during the last thirty minutes because there are a lot at stake for Coraline. I believed that she truly was in danger and could get hurt by the malicious Other Mother. Some stand-out scenes include Coraline’s discovery of Wybie Lovat’s mouth being sewn open to produce a smile, the atmospheric second mission involving a theatre and dog-bat hybrids, and the last five minutes which involves a metallic hand and a reference to “The Ring.” All of the eye-popping (sometimes literally) adventures aside, this is a story about a person not being taken seriously and how that frustration gets the best of us. That frustration then drives us to turn toward the seemingly better alternative only to realize later on that we’ve had it so good all along.
★★★★ / ★★★★
I had my reservations prior to watching this film but after I saw it, I could finally understand why “Poltergeist” is considered as a horror classic. What I love about this picture is that it’s an unconventional horror movie. It focuses on the family and makes the “scary stuff” secondary or even tertiary. Credit definitely goes to Steven Spielberg (even though it’s directed by Tobe Hooper who also directed the original “The Texas Chainsaw Massacre”). Being a big Spielberg fan, I immediately noticed his signature style of storytelling: the timeless feel of feeling like a kid again, problems with at least one parental figure (obvious or otherwise), excellent pacing, and a generous offering of eye-opening visual and special effects–all of which never outshine the film’s emotional core. I must commend JoBeth Williams for playing the mother of the house. I found her to be really touching during those scenes when she would engage with the parapsychologists (Zelda Rubinstein and Beatrice Straight). Even though all types of paranormal phenomena are happening around them, Williams’ yearning for her missing child (Heather O’Rourke) resembles a mother’s yearning for her child who recently died. Not only are those scenes moving, they are integral to the story’s overall feel. The film is smart enough to establish the family first before truly getting into the paranormal, but at the same time it didn’t take a long time to get there. Once the horror started, it never lets go: the scenes are in the least creepy and truly memorable in its most daunting. I also noticed how “The Others” and “The Sixth Sense” took some of the big ideas from here and made them their own. Even though some people would say that the special and visual effects are outdated, I think most still hold up to this day. As for those that are undeniably dated, their powers lie in the concepts (for instance, an invisible demon dragging a person to and across the ceiling) and they leave so much for the imagination. “Poltergeist” will scare people who believe in ghosts, especially haunted homes. My culture believes in the existence of ghosts (even though I personally don’t–but I do believe in the possible existence of an afterlife) so this film gave me some serious goosebumps.