Bloody Reunion (2006)
★★ / ★★★★
A detective (Eung-soo Kim) and his partner found a basement full of bloody and mangled bodies. They were informed that there were two survivors: a young woman and an older woman confined to a wheelchair. The detective asked the young woman what had happened. It turned out that the other survivor, Miss Park (Mi-hee Oh), was a former teacher suffering from a terminal illness. Seven of her former students came to visit so they could say their goodbyes. But the reunion wasn’t sweet. The seven became bitter because their lives didn’t turn out to be as they hoped. Miss Park was to blame. Written by Se-yeol Park and directed by Dae-wung Lim, “Seuseung-ui eunhye” was an interesting hybrid of slasher film and who-dun-it mystery. The identity of the murder was in question. It could be Miss Park’s son with a deformed face, bullied by six of the seven students when he was a kid, or it could be one of the seven. I enjoyed that it wasn’t very clear until the last act. But the cinematography sometimes distracted me from the bloody happenings in the film. There were certain scenes when it asked as to focus our eyes on Miss Park so we could feel the sadness she felt toward her damaged children. Even though she was far from a perfect teacher, we were asked to understand that she was at least aware of her mistakes, that she was regretful of her actions, before her body succumbed to her illness. But the camera kept zooming in and out of her face. It should have been reshot so that the emotions her face conveyed, though complicated, had some sort of clarity. As for the way the story unfolded, I enjoyed that it asked us to put the pieces together ourselves. There was no narrator to explain to us that a piece, for instance, didn’t really exist or it only happened in the confines of one’s psyche. However, in some ways, it worked against itself. In its attempt to conceal some of its secrets, the picture relied too much on the mood between the students contrasted with the atmosphere between a student and Miss Park when it was just the two of them. The formula involving a student being alone with his or her teacher was used too often so we knew when he was about to reveal the reason why he was there. Some of the information didn’t always make sense because we were only given pieces. The movie took a considerable amount of time to lay out all of its pieces and by the time we were asked to put it all together, half the viewers would have given up trying to put the information into one coherent whole. “To Sir with Love” or “Bloody Reunion,” though inconsistent, held a certain fascination. When it didn’t work, it was frustratingly bad but when it did, I watched in wide-eyed horror.
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.
★★★ / ★★★★
The wife of a television producer had passed away when their son was still very young. Mr. Aoyama (Ryo Ishibashi) raised his son on his own and had grown accustomed to the loneliness of being a single parent. His son, Shigehiko (Tetsu Sawaki), noticed that his father seemed a bit sad for quite a while so he suggested that Mr. Aoyama should find a girl and get married. With the help of his co-worker (Jun Kunimura), the two men held an audition for a movie. Out of all the girls, Mr. Aoyama was most interested in Asami (Eihi Shiina), a girl who was passionate about ballet but had given it up due to a bad hip. He didn’t know she held a very dark secret. Based on a novel by Ryû Murakami and directed with great control by Takashi Miike, the neat thing about “Ôdishon” was if all the scenes involving the psychosexual horror were taken out, it worked as a solid romantic drama. The first half of the film consisted of tender moments between father and son, like fishing and sharing meaningful conversations over dinner, and funny scenes of various women auditioning for a lead role. There was a natural progression away from the light ambiance to a truly horrific finale. There were red herrings thrown at us to give us the impression that there was something seriously wrong about Asami. Despite his friend telling Mr. Aoyama that he felt something not quite right about the girl, the widower was intent in forming a relationship with the woman. He read her essay, which was a part of her resume, and he wanted so badly to believe that he knew her, that she was right for him. He saw that, like himself, she had been damaged by the past and that commonality was, from his perspective, deep enough for the two of them to want to share a life together. It brought a new definition to the saying that love is blind. He took a blind eye to her lies and so he failed to see her true intentions. The gruesome scenes toward the end had real potency. The picture earned showing us the grotesque images because of its steady rising action. In some ways, I wanted to see the gore and the mutilation. But the funny thing was, when I saw it, I almost immediately wanted to look away. However, I must mention some details that didn’t quite fit into the big picture. How did Mr. Aoyama, through a hallucination or dream sequence, learn the content of the bag in Asami’s apartment (or how her place looked like for that matter) when not once did he visit her place? It made me wonder that perhaps there was a missing scene prior to the third act. However, such details could be easily overlooked because the images that “Audition” offered were creepy and some were downright terrifying.
Vanishing on 7th Street (2010)
★ / ★★★★
Paul (John Leguizamo), a movie theater employee with a big brain, found himself alone in the cinema after the lights mysteriously went out. The busy buzzing of movie-goers instantly turned to silence. As he explored the building, clothes were everywhere but there seemed to be no sign of people who were there just a split-second ago. It seemed too elaborate to be a prank. Rosemary (Thandie Newton), a mother with a missing baby, James (Jacob Latimore), desperate to find his mother, and Luke (Hayden Christensen), a news reporter, experienced a similar event. Written by Anthonu Jaswinski and directed by Brad Anderson, “Vanishing on 7th Street” started off with a chilling premise but the execution lacked energy because there wasn’t enough information about the weird events to get us to look beyond the images presented on screen. We, as well as the characters, learned that the shadow-like figures were afraid of the light. If touched by the creatures, they would vanish out of thin air. When the four characters got together in a bar owned by James’ mother, instead of finding creative ways to survive, they became laughably philosophical. They thought maybe they were in hell and being caught by the shadows was a way to get into heaven. Maybe there was some kind of an insidious biological warfare. Someone even brought up that maybe there was an alien invasion. Regardless of the reason, what made them so special (or not special) that they were left behind? Far too much time was dedicated on asking questions than seeking answers. With a running time of only ninety minutes, they couldn’t afford to stand around and wait for a light bulb to go off in their heads. Another issue I had with the picture was it took itself too seriously. The tone never changed. The formula involving someone’s light suddenly going off so conveniently just when he or she entered a pitch black room became predictable. It would have been more interesting if the film had found a way to laugh at itself to release some of the stagnant tension. For instance, when I saw clothes of random people just lying in the middle of the road and continued as far as the eyes could see, I laughed to myself. It was creepy but it was also somewhat amusing. As it went on, I was convinced “Vanishing on 7th Street” would have worked better as a short film. It just didn’t offer enough information. Where did the shadow figures come from? Where did everyone disappeared to? Why was the time of day growing shorter at such a rapid rate? We just didn’t know. There’s a mystery in not knowing certain things if and only if the material is already rich. That wasn’t the case here. Not giving away any answer to some of the biggest questions is, in my opinion, cheating the audiences.
★★ / ★★★★
Madeline (Jordan Ladd) and Michael (Stephen Park) had been trying to conceive but the baby didn’t make it full term twice. Madeline, who lived a strictly vegan diet, was pregnant for the third time and would like to try something different. Instead of going to a doctor (Malcolm Stewart), a friend of her controlling and judgmental mother-in-law (Gabrielle Rose), she insisted on going to a mid-wife (Samantha Ferris), Patricia, who also happened to be her friend back in the day. When the couple got in a car accident, the baby died in Madeline’s womb. However, Patricia decided that they weren’t going to induce delivery with respect to Madeline’s wishes. They were going to keep it inside Madeline for a couple of weeks until it came out of her naturally. It did and she somehow willed it to life. “Grace,” written and directed by Paul Solet, lacked two elements: common sense and characters we could root for. In Madeline’s desperation to have a baby, naming it Grace because she thought it was a miracle, she ignored all the creepy signs that there was something not quite right about her child. Babies are known to smell good but Grace smelled rotten. A bath couldn’t get rid of the stench. Flies gathered around her crib as if the baby was a corpse. When it did drink milk, it would vomit. The only thing it seemed to like drinking was human blood. Despite all the strange signs, Madeline wouldn’t see a doctor. Through her nipples, the monster she gave birth to eventually learned to suck her blood to the point where she became anemic. Even then she refused to see a doctor. She considered her obstinate nature as a sign of love. A normal person would considered it as a sign of stupidity. However, it was actually fun to see her go through great lengths to protect her dark secret. There was a balance between gore and suspense. The mother-in-law, a judge, wanted the baby for herself. She came up with ways for the law to consider Madeline as an unfit mother. It was only a matter of time until she found out about the blood-hungry baby. Ultimately, I considered “Grace” a missed opportunity. It had a fascinating bit about Madeline and Patricia being involved in a romantic relationship in the past. With a more focused script, Madeline’s increasingly desperate situation could have been a symbol of her fear of accepting her sexuality. When she made love with Michael, there was no passion. She just passively laid on the bed as he planted his seed. One could argue that she didn’t want a man, she wanted a baby. She used him as a tool. The baby did the same to her. “Grace” was disturbing but never exploitative. Although certainly not for everyone, no one can deny it had moments of creativity.
Rosemary’s Baby (1968)
★★★★ / ★★★★
Rosemary (Mia Farrow) and Guy (John Cassavetes) decided to move into a New York City apartment with a strange past involving women who ate children. Rosemary was enamored with the decor and Guy thought the area was a premiere place for his career as a budding actor. They lived next to Minnie (Ruth Gordon) and Roman (Sidney Blackmer), an elderly couple with whom Rosemary and Guy quickly grew fond of because they were so friendly and accommodating. But the couple’s happy existence was shattered when Rosemary had a dream of being raped by Satan and learned some time later that she was pregnant. Based on a novel by Ira Levin and directed by Roman Polanski, “Rosemary’s Baby” was a masterful understated horror film with a possibility of witchcraft at its center. It worked in two ways: Either Rosemary’s suspicion that the apartment complex was full of devil worshippers was indeed correct or it was simply that Rosemary didn’t know how to handle her pregnancy (after all, it was her first child) so her mind succumbed to paranoia over a period of nine months. Its brilliance was in the fact that we didn’t know which possibility was true until the final few scenes. When we finally found out, it almost didn’t matter because Rosemary’s journey felt complete. The picture capitalized on expertly rendered scenes of increasing creepiness. It ranged from Rosemary hearing weird chanting from behind the walls of their bedroom, her husband’s increasingly suspicious behavior, to our protagonist actually eating raw meat without her conscious mind’s control. I loved the scenes when the very pregnant Rosemary ran around New York City in broad daylight yet so much tension and horror surrounded her. With most horror pictures being set at night, especially their climax, Polanski proved that being surrounded by people in the middle of the day could be as terrifying as long as the elements were perfectly aligned. When the main character was in a phone booth waiting for an important call, we felt right there with her, wishing the phone would ring as soon as possible. We cared for the main character because Farrow instilled a certain fragility in Rosemary, not just because she was carrying a child, but because it felt like everyone wanted to control her. This was clearly shown when Minnie would imposingly wait for Rosemary to drink a special brew she made using plants from her herbal garden. We felt, like Rosemary, that there was something seriously wrong especially when the obstetrician, Dr. Sapirstein (Ralph Bellamy), wouldn’t prescribe her any pills after months of feeling pain in her stomach. “Rosemary’s Baby” is a thinking person’s horror film and the rewards are found in the way we interpret the images we see and sounds we hear. Imagine looking at the portrait of Leonardo da Vinci’s Mona Lisa. You stare long enough and you get the unsettling feeling she might be staring back.
The Cottage (2008)
★★★ / ★★★★
David (Andy Serkis) and Peter (Reece Shearsmith) kidnapped Tracey (Jennifer Ellison), a daughter of a successful businessman, and took her in a house out in the country. If Andrew (Steven O’Donnell), Tracey’s brother, delivered the money on time, it was promised that Tracey would be released without question. But when the four realized that the disfigured farmer who lived closest to the house they occupied had a penchant for killing and mutilating his victims’ bodies, the four had no choice but to team up if they wanted to keep their lives. “The Cottage,” written and directed by Paul Andrew Williams, was a creative exercise in horror and comedy. David and Peter were probably two of the most incompetent kidnappers I’ve had the pleasure to watch on screen. There was a formula that led up to the funny moments. When David told Peter what not to do, Peter promised he would obey. But since Peter was inexperienced in committing crimes, somehow he managed to do exactly the opposite of what he wasn’t supposed to do. It got to the point where Tracey, a big-breasted blonde who could easily take down her captors, found out David’s name because Peter was so nervous around her. We even found out that Peter’s biggest fear was moths. But the film gradually changed in tone as it went on. The middle portion had a high creepiness factor, notably when Peter and Tracey investigated a seemingly abandoned house. There was a putrid smell coming from the closet, hands were nicely stacked in the freezer, and there were metallic noises underneath the trap door. I loved the fact that horror came in not only when the murderer appeared but when the characters, often as a pair, discovered something while occupying different rooms. One character faced a false alarm, while the other faced true horror. When a new pair entered the creepy house, the room which gave us a false alarm earlier was completely changed. There was a sense of continuation and it was easy to tell that the writer-director considered it important for his material to have cohesion, intelligence, and a spice of cheekiness. What I thought the film could have used less was the two Asian hit-men (Logan Wong, Jonathan Chan-Pensley). The way in which their accents were used for the sake of humor was borderline offensive to me. I was aware that offense was not Williams’ intention but it sometimes came across as exploitative. The duo could have easily have been played with Asians without “funny accents” and the final product would have been the same. “The Cottage” is a solid example of why I love independent movies. It wasn’t afraid to experiment with its tone. I was amused with the way it effortlessly switched from one type of humor to another while still dealing with the macabre. Since it was so confident with what it was doing, its out of left field ending actually carved a smile on my face.