Evil Dead II (1987)
★★★ / ★★★★
Ash (Bruce Campbell) took Linda (Denise Bixler), his girlfriend, to a remote cabin in the woods. They found the Necronomicon Ex-Mortis, or the Book of the Dead, and a recorded message which read the Sumerian excerpt and woke up the evil spirits in the woods. Meanwhile Annie (Sarah Berry), with her boyfriend (Ed Getley), had taken ahold of the missing pages from the book. She was expecting that her mother and father were still in the cabin where Ash was struggling to keep alive. Written by Sam Raimi and Scott Spiegel, “Evil Dead II” was aware that it was essentially the same movie as its predecessor. But Ash was not the same Ash in “The Evil Dead.” This Ash was a version of that original character. In its first five minutes, it brilliantly summarized what happened in the first by showing us scenes that were different yet familiar: the significance of the necklace between the couple, the beheading of the girlfriend, and the unpleasant lack of sound in the woods before the kill. I had more fun with it because it was aware of what was expected so it challenged itself by delivering its audiences something new. That is, it still had elements of horror but it focused more on the dark comedy that came after the jump-out-of-your-seat moment. Strangely, it had a hint of science fiction that involved time travel. My favorite scenes had something in common: a significant movement of the camera. Ash, outside at the time, was driven back to the house and the camera, embodying the evil force that wanted to possess his body, followed Ash from behind. Once inside the house, there were a number of corners and unexpected passageways that became increasingly claustrophobic. Ash’ reaction throughout the chase was somewhat amusing but the feeling behind the camera suggested something more malevolent. The contrast worked well and it set up the tone for the rest of the picture. Another stand out scene was when the inanimate objects suddenly started laughing. I thought the moose (or was it an elk?) head hanging on the wall was genuinely scary. If reckon kids would have nightmares with just that scene alone. The blood in its mouth was a nice touch; it looked like it was recently beheaded and set as decor. Once again, Campbell did a terrific job playing Ash. The crazy look in his eyes and the constantly raised right eyebrow was a reminder that none of it was supposed to be taken seriously. When I noticed small things like a scene having too much fog, especially when was coming from inside the cabin, or a ridiculous amount of blood coming out of one man or a specific body part, I had to admire its audacity. “Evil Dead 2: Dead by Dawn,” directed by Sam Raimi, was a successful horror-comedy because it was creative with its visuals and the jokes often had witty punchlines.
Cabin Fever 2: Spring Fever (2009)
★ / ★★★★
When water from a lake infected with rapid flesh-eating bacteria was introduced into an unsuspecting high school’s prom, the government locked the students inside and left them to die. There was John (Noah Segan), a future doctor who was in love with Cassie (Alexi Wasser) but whenever the two got close, her boyfriend with serious anger issues (Marc Senter) left John cowering in his shoes. Alex (Rusty Kelley), John’s best friend, had sex in the brain and was willing to get it from just about anybody. What “Cabin Fever 2: Spring Fever,” directed by Ti West, needed was a spark of creativity and a bit of vision. All the high school students portrayed in the movie were one-dimensional. They were like zombies as they walked in the halls and their conversations left no lasting impact. They were at Point X and they wanted to get to Point Y. Their one and only path was Trajectory XY. So when the flesh-eating bacteria began its bloody horror, while we were left horrified and disgusted, mostly the latter, we just didn’t care for the characters. Given that John wanted to be a doctor some day, I expected a lot from him. The writers, Ti West, Randy Pearlstein and Joshua Malkin, should have given John a scientific approach in terms of dealing with the bacteria. The picture could have benefited from several scenes when John was able to take a sample of the bacteria in the blood and looked at its processes under a microscope. Given that chemistry class, naturally equipped with microscopes and slides especially since, from what it seemed, the students were in a private school, was only a couple of doors away, not learning about the disease was a missed opportunity. The majority of the first film took place in a remote cabin by the lake. They couldn’t possibly learn anything about the disease because they didn’t have any equipment. Here was a vastly different setting but it was uninspired. It was more concerned about delivering the blood, the pus, and the sexual escapades of the doomed teenagers. And what about Deputy Winston (Giuseppe Andrews), the idiotic cop who was lucky enough to survive from the first movie? He was left running around but we had no idea what he was up to. He was a cowardly clown and when the film cut to his scenes, the tension that accumulated from the scene prior decreased at an exponential rate. With a stronger writing and if the film had focused only on the prom and the infected students inside, it could have passed as slightly mediocre. But with the extended scenes involving a high school stripper, I was left very confused.
The Amityville Horror (1979)
★ / ★★★★
A twenty-year-old murdered his entire family and left the cops bewildered due to his lack of motive. Only a year later, George (James Brolin) and Kathy (Margot Kidder) decided to buy the house where the gruesome murders occurred. Kathy had three kids from a previous beau but George didn’t seem to mind. In fact, he loved the kids as if they were his own. But there was something strange about the house. Father Delaney (Rod Steiger) and Aunt Helena (Irene Dailey) felt a malevolent presence once they stepped inside. They heard voices that threatened and ordered them to get out. Inspired by a true story and based on Jay Anson’s book, “The Amityville Horror” was a whole lot of noise but it wasn’t particularly scary. At its best, it was creepy with the flies, obviously signifying death, that appeared only in one special room, the creaking floorboards when someone was alone in the house, and the dog desperately trying to dig up something from the basement. I took on a certain passivity as George’s hair began to grow longer. Over time, their neighbors claimed that he started to look like the boy who killed his parents and siblings. Notice I mentioned “passive.” George’s descent into madness lacked dimension. While he did look meaner and he became prone to snide remarks, his demeanor wasn’t that much different from a very stressed out person. Perhaps that was the filmmakers’ intent. However, I had serious doubts that it wanted to take the subtle path because, especially toward the end of the film, it became generous in terms of its special effects like blood seeping out of the walls and the rise of something buried in the basement. And, of course, the final confrontation had to happen in a dark, stormy night. The picture would have been stronger if it had rooted its horrific elements in little accidents. For instance, one of the son’s hand being stuck in a window that wouldn’t budge or the babysitter who got trapped in a closet as George and Kathy attended a wedding. When we were left in the house with just our imagination, it was scary and somewhat realistic. After all, a rocking chair that seemed to move by itself was probably just triggered by the wind or a natural tremor from the old house. Another weakness I noticed about the film was it had too many scenes that didn’t have anything to do with the family. When the camera was not in or around the house, the tension subsided because it felt less personal. Instead of a gradual increase in rising action, there were noticeable dips that borderline somnolence. “The Amityville Horror,” directed by Stuart Rosenberg was not as chilling as it should have been. To most audiences, it may seem old-fashioned or tame because it didn’t show us much for the majority of its two-hour running time. I believe it shouldn’t have shown us anything at all. It would have been an entirely different experience if it had challenged us to use our preconceived notions of haunted houses.
The Craft (1996)
★★ / ★★★★
Sarah (Robin Tunney) and her family recently moved to Los Angeles from San Francisco. Sarah didn’t have many friends before and the prospect of her making many friends in her new school was low. It seemed as though everyone she encountered was either downright mean, mostly the catty girls (Christine Taylor) that scoured the hallways for their latest prey, or simply wanted to get her in bed, naturally, the hyper-masculine jocks (Skeet Ulrich). Sarah met Nancy (Fairuza Balk), Bonnie (Neve Campbell), and Rochelle (Rachel True), goths who practiced witchcraft. Sarah had dabbled in witchery, too. She didn’t really get along with them at first but she hung out with them anyway because being a pariah as a group was better than being alone. Directed by Andrew Fleming, “The Craft” was an exercise in the exaggeration of high school teen angst. Half of it was fun, but the other half was self-indulgent. It was enjoyable to watch because we got a chance to see mean kids in high school get the punishment they deserved. My favorite was the blonde girl whose hair began to fall off after she called Rochelle a “Negroid” and that she hated Rochelle’s kind and their “nappy hair.” As ugly as it was to hear such dialogue, I thought it had a certain honesty. In high school, I’ve heard all sorts of mean comments that would rarely, if ever, make it on television or movies. The film’s strongest scenes took place at school despite its improbable hyperboles such as Sarah not meeting anyone who seemed genuinely nice. As we got deeper into the story, I noticed the picture slowly beginning to rely on special and visual effects to generate suspense. I don’t think it needed to. It would have been more fascinating if we saw no thunderstorms striking one of the witches or if there were no butterflies flying around them to symbolize that the god they worshipped was listening to them. Teen witches casting a spell in one scene and strange events happening the next day at school would have been enough. By not giving us much, we were left to wonder if the spells they foolishly casted were having an effect or it was simply a matter of coincidences. I thought there were also some missteps in terms of character development or editing. In one of the scenes, Rochelle started to feel bad about the spell she casted on the racist blonde. It was apparent that she wanted out of the witches’ circle (a literal self-reflection because she stood next to a mirror) but she was afraid of Nancy’s wrath. Almost immediately after the audiences were made aware of her guilt, Rochelle continued to be friends with Nancy and her character’s evolution was completely abandoned. That strand could have been a turning point. Instead of the protagonist, it would have been refreshing to see a supporting character come out of nowhere and defy certain archetypes. In the end, “The Craft” was just another teen flick from the 90s but with black nail polish witchcraft.