Gothika

I decided to give this one another shot as part of my Robert Downey Jr. appreciation 'month' (this has so far lasted 3 months and looks not to be ending anytime soon. That man is a gift.). My first and last viewing of this film was at a house party in 2005 and I remember being pretty unimpressed at the time. But I was a cocky 17 year old, so lets see how it fares this time:




"Gothika" (2003, Mathieu Kassovitz, Dark Castle Entertainment, Warner Bros. Pictures, Columbia Pictures) is a film about a psychiatrist who wakes up to find herself a patient in the mental hospital she works at.


Dr. Miranda Grey (Halle Berry) works at Woodward Penitentiary as a Criminal Psychiatrist. She is working with several disturbed and violent women including Chloe Sava (Penélope Cruz). She's also the wife of Dr. Douglas Grey (Charles S. Dutton) who runs the facility, and has an apparent friendship-but-nothing-more relationship with her colleague Dr. Pete Graham (Robert Downey Jr.) - much to the latter's disappointment.


On a stormy night, Dr. Grey crashes her car on a bridge while narrowly missing hitting a young girl standing in the road. When the Dr. approaches the girl to check if she's ok she bursts into flames. Miranda doesn't remember anything else until she wakes up as a patient at Woodward herself and Pete breaks the news to her that she apparently went home and brutally murdered Douglas.


Miranda spends the rest of the film slowly piecing together her memory with the help of a vengeful spirit and some pretty inefficient security in the hospital. What she finds out shakes her worldview and it's probably for the best that she'd already dispatched of Douglas.


The film suffers from a lot of things that aren't its fault. The main one being it's just another early 2000s teen-aimed horror with that annoying blue tinged hue over every scene. But there remain some gaping plot holes (really? Pete just pulls some strings and she's kept at her previous place of work? I don't think so) and just too much going on in the plot. It's like they made a few storyboards and decided to mash it all together; crooked cops, crooked doctors, malpractice, ghosts, murder, torture porn, revenge, amnesia, sexual deviants getting access to patients without (supposedly) anyone knowing, misrepresented mental health patients.... you name it, it's in here. It's a bit of a mess plot-wise.


One of my main gripes with the film is its criminal(-ly insane) underuse of its talented cast. Halle Berry as the protagonist gets a fair share of screen time but most of her time is spent screaming and/or being sedated so her character isn't given much depth outside of her initial intro as overworked psychiatrist who likes to swim. As the film moves on she gets to deliver a more proactive role and starts to do her own sleuthing, but ghostly possession, or not, I doubt that she would be set free at the end of the film, having, you know, murdered a guy! RDJ manages to inject some depth into the character of Pete through that amazing ability he possesses to humanise all of his characters, but essentially Pete is just there to be a hindrance to Miranda's escape and doesn't actually get to do much of note from a plot perspective except moon over Miranda and then act as jailor. Cruz' character is probably the most interesting of the film with a pretty sad story arc but she's more of a plot device than a main character.


But it's not all bad. The film remains watchable, and although it doesn't fit into any good-bad-cheese list it's also not so terrible that you can't sit through it. Whether  you'd actually want to is another question entirely. I can imagine the trope-laden, well trodden ideas behind the film still seeming fresh to the young and uninitiated, and it could certainly serve as a gateway to youngish, thirsty horror fans in the making who haven't yet been enticed by the pleasures of 2001's "Thirteen Ghosts" or 1999's "House on Haunted Hill" which, in my view, deliver a much better late 90s/early 2000s horror vibe.


What can I say? I came for the RDJ factor... and I pretty much stayed around for that, too. It seems 17 year old me and 31 year old me aren't so different after all.

[Image: Warner Bros., et al]

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Kanika

"Kanika" aka "कनिका" (2017, Pushkar Manohar, Ankit (Sunshine)) is a supernatural revenge horror from India. It is in Marathi language and is available with English subtitles.


Kaushik (Sharad Ponkshe) is a well-off doctor working in his own hospital. He is greedy and happy to flaunt laws in order to receive more money. After his security guard leaves, citing ghosts, Kaushik begins to see the spectre of a little girl haunting him. Soon, he begins to lose friends and colleagues under mysterious circumstances. His wife, Vaishali (Chaitrali Gupte) begins to worry that her husband has lost his mind... The little girl is after revenge, but possibly death is too quick?


The film covers a very polarising subject: abortion. It's a subject that can be difficult to understand across different cultures, genders, religions and social circles. Within different groups, issues with the subject can vary greatly. The main theme behind this film is to shine a light on the practice in the region of terminating pregnancies because of the gender of the child and its resultant social standing. In the case described within the plot, the mother did not want to do this and thus, a vengeful ghost is born.


I have not had as many opportunities to watch Indian horror as I have Japanese, European and American. The film is fairly low-budget with a few plot holes and some long winded dialogue, but it does have a certain charm to it. Our protagonist (or maybe he's the real antagonist?), Kaushik, is a fairly unlikeable person; A greedy and cowardly man who displays some fairly humorous behaviour in his attempt to save himself. There's also a scene with a treadmill where they made the actor mime walking which was decidedly distracting.


Kanika herself has a few good moments where she appears in different places, and similarly to the vengeful spirits within The Grudge and Ring franchises, her appearance is bedraggled with hair covering her face. There are a few scenes where she's not used as effectively and her story does not reach a fully satisfying conclusion.


All in all, the film is fairly low impact. It's not scary enough to make it a thrilling horror, it's not daft enough to venture into the cult B-movie arena and, although it carries a strong social message, it is not delivered particularly well - opting for a more sledgehammer style.

[Image: Ankit]

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Anatomie 2

"Anatomie 2" (2003, Stefan Ruzowitzky, Strand Releasing) is a sequel to, you guessed it, "Anatomie". It's a German language body horror set in a Berlin hospital.

A young neurosurgeon called Jo (Barnaby Metschurat) moves to Berlin to make his big break. Quickly he manages to catch the attention of Dr. Müller-LaRousse (Herbert Knaup). The doctor invites the young man to join his research group, where Jo becomes not only acquainted with other young, inquiring minds, but becomes completely immersed in their licentious research, and therefore equally culpable if their immoral practices are found out.

However, when a fellow group member, who was having an attack of conscience, is found murdered it becomes apparent that the good Dr. may not suffer any dissension in his ranks...

I have admittedly not seen the first movie, but would definitely search it out now that I've seen its sequel. This film was so much fun. It has a strong plot, a good amount of fairly gruesome effects and a good cast of interesting and unusual characters. The film explores the ethics of research and science and the hunger for knowledge.

Jo's character is not only driven by his desire for success, but also for the desire to help his brother who has Muscular Dystrophy, giving the character a more rounded motive. His fellow researchers are all also driven by their own personal motivations. Be it sexual pleasure, vanity or fame.

A really fun film and one of the best random DVD finds I've had recently!

[Image: Strand Releasing]

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Get Out

"Get Out" (2017, Jordan Peele, Blumhouse Productions, QC Entertainment, Monkeypaw Productions, Universal Pictures) is a horror that explores themes of racism through the context of an interracial couple hitting the 'meet the parents' milestone of their relationship.

Chris Washington (Daniel Kaluuya) and Rose Armitage (Allison Williams) head out to Rose's family home to introduce Chris to her parents. Chris is apprehensive about meeting Rose's parents because she has told him he is her first African-American boyfriend and he's not sure how her Caucasian family will react to him. Rose assures him that her folks are not racist and that they'll just be glad to meet him.

Upon arriving this does seem to be the case, although as the day goes on her parents make some awkward 'well intended' remarks that begin to make Chris uncomfortable. However, it is the black people he encounters that strike him as 'wrong' somehow, but he can't quite place why. As the visit becomes overlong, the couple are dragged into an odd family gathering and Rose's mother also offers to cure Chris' smoking addiction with hypnosis...

Things become slowly more and more unsettling and Chris becomes aware that this friendly, suburban setting may not be as safe as it first appeared...

A fantastically paced film that balances its social statement with good scripting, humour and character development. The acting is spot on with a strong lead from Kauuya who's both confused, but strong and an excellent antagonist in Rose's father (Bradley Whitford). The unsettling build up really makes the twists and turns effective and keep them from being hokey or too obvious. The film isn't just about blatant racism; it explores that smiling-cat, quasi-jealous, self-congratulatory kind of racism that is prevalent all over.

A really striking film that's definitely worth a try. The horror elements are more tailored to a chilling thriller than a straight up fright fest, but the true horror is in the message being portrayed.

[Image: Universal Pictures, et al]

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The Institute

"The Institute" (2017, James Franco, Pamela Romanowsky, Jeff Rice Films, Redwire Pictures, Campbell Grobman Films, Dark Rabbit Productions) is a period horror set in The Rosewood Institute; a real life place in Baltimore which was closed in the 90s.

A grief stricken well-to-do girl called Isobel (Allie Galerani) checks herself into the institute in order to get over her parents' death. She is subjected to torturous "treatments" at the hands of Dr. Cairn (James Franco) and his staff.

A dull and arduous movie that takes a long time to get going and then doesn't deliver anything worthwhile. The acting is tedious and the plot is over-trodden tropes that have been done better elsewhere. The story waivers between wanting to be psychological and wanting to be supernatural and the draw for our leading lady to wish to stay at the institute is very weak.The horror elements fall straight into the sexploitation category and don't manage to make much more of it than re-tread ground already done rather effectively in the 60s and 70s.

All in all the only thing I enjoyed about this film was the slide at the end of the credits where I learned that Rosewood was a real place and that led me down a short rabbit hole about the place's history. And guess what, it was nowhere near as interesting as the film hinted at.

[Image: Dark Rabbit Productions, et al]

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The Void (2016)

"The Void" (2016, Steven Kostanski, Jeremy Gillespie, Cave Painting Pictures, Astron-6) is a Canadian monster movie set in a small town's hospital at night.

We open to an exciting and horrific scene where a man called James (Evan Stern) flees a house while two other men, Vincent (Daniel Fathers) and Simon (Mik Byskov), kill a screaming woman. James is later found by local Deputy, Daniel Carter (Aaron Poole), who takes him to the nearby hospital.

James turns hysterical upon entering the hospital and is sedated by Dr. Powell (Kenneth Welsh). Soon Vincent and Simon appear hunting James. They are closely followed by a Marshall (Art Hindle) and a group of strangely garbed cultists brandishing knives. Aside from being surrounded by creepy, hooded figures, the group are terrified to find that some of them are becoming less than human...

I really wanted to like this movie. The marketing had made it look like an updated answer to Carpenter's "The Thing", but unfortunately, the reality was nowhere near as comprehensive.

The initial build up is excellent: dark, atmospheric and brutal. There's enough going on to get you involved as a viewer, and the characters have just enough screen time to establish their personalities before the real horror begins. The effects are really fun and the action moves... Until it doesn't.

Around the third-way mark we move away from Carpenter and into Clive Barker terrirtory where the plot takes a sudden "Hellraiser"-esque turn and things become bogged down in trying to be artistic and weird instead of scary and weird. Although there is an enveloping theme established, it felt like there had been two concepts and the directors decided to try merging both with disjointed results.

While I commend the technical aspects of the film and the creatures, the story-telling really let it down and we ended up with a muddy, bloody mess that isn't sure if it wants to be a Lovecraftian epic or a gritty, 80s gorefest. With a bit more of a decisive direction, however, the Astron-6 guys will undoubtedly bring us some really great stuff.

[Image: Cave Painting Pictures]

 

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A Cure for Wellness

"A Cure for Wellness" (2016, Gore Verbinski, Regency Enterprises, Blind Wink Productions, New Regency Productions, 20th Century Fox) is a psychological horror set in a luxury spa in the Swiss Alps.

An NYC financial firm sends a keen, young executive called Lockhart (Dane DeHaan) to a secluded spa to retrieve the firm's CEO, Pembroke (Harry Groener), in order to coordinate a merger. They also have some dodgy dealings to pin on someone, and if Pembroke won't be the man to go down, Lockhart will do.

Lockhart arrives at the spa to find that the staff will not let him see Pembroke. During his return to the village to decide what to do, his taxi has a horrific accident and he awakes to find that he has broken his leg and is 'recovering' at the spa himself. As he familiarises himself with his surroundings he becomes suspicious that there is something much more sinister going on than just outlandish treatments. He also meets a young girl called Hannah (Mia Goth), who has lived at the spa all of her life. Lockhart decides to dig deeper, but how long can he resist before he becomes just another of the sinister Dr. Volmer's (Jason Isaacs) patients?

A creepy, slow moving film with some action and a lot of unsettling scenes involving slimy eels. It's a sly plot with some plot-holes which dislodge the viewer slightly, but on the whole an intriguing and gruesomely distasteful concept.

The setting and styling have a familiar, old-fashioned vibe; "The Phantom of the Opera" meets "Dracula" but with a few elements of "Saw" chucked in there. The film is beautifully shot and the more disturbing scenes are truly imaginative and uncomfortable. However, the film felt overall too long, and the dreamlike quality of the storytelling made it feel longer still. There was certainly an element of style over substance, and the ending didn't fit with the rest of the build up and felt hokey and out of place.

Despite its shortcomings, the film is successfully interesting.

[Image: 20th Century Fox, et al]

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Daughter of Dr Jekyll

"Daughter of Dr Jekyll" (1957, Edgar G. Ulmer, Film Venturers, Allied Artists) is a low-budget, black and white horror.

Janet (Gloria Talbott) returns to her childhood home with her fiancé, George Hastings (John Agar), to celebrate her 21st birthday and to inform her friend and father figure, Dr. Lomas (Arthur Shields), of she and George's engagement. Upon returning, Janet learns that she is actually the daughter of the infamous Dr. Jekyll and she becomes concerned that she may also suffer from her father's monstrous affliction. However, all may not be as it seems!

A slow moving film which takes it's time to get to the point, but once there is quite entertaining. The setting is a big mansion in the woods surrounded by a small town of superstitious people who are quick to start an angry mob; it feels like most other horror films from the era. And although the scripting is a little clunky in places and the fight and transformation scenes do not compare to other, larger budget films of the era, I did enjoy the overall plot-line.

A film about a young girl's struggle for identity, masquerading as a cheesy monster movie. It's the kind of late night cheese-fest that hits the spot on a dark and stormy night.

[Image: Allied Artists]

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The Man Who Laughs

"The Man Who Laughs" (1928, Paul Leni, Universal Pictures) is a wonderfully dark silent film based on the book by Victor Hugo. Whilst it was not intended to be a horror film, the plot and the gloomy expressionist styling of the production lend itself to the genre.

Based in England in the late 1690s, we are introduced to King James II and his psychotic jester. A Nobleman has insulted the king and is swiftly executed via the infamous Iron Lady. Before his demise, the nobleman learns that his only son, Gwynplaine, has been captured and delivered to the monstrous Comprachico surgeon, Dr. Hardquannone, who has surgically disfigured the child's face into a horrific and permanent grin.

On a cold evening, young Gwynplaine (Julius Molnar Jr.) is seeking shelter when he finds a dead woman clutching a still-living, blind infant. He takes the baby girl with him and seeks help at the nearest house, that of Ursus (Cesare Gravina). Ursus quickly sees an opportunity to use the disfigured boy to make money.

Years pass and the now adult Gwynplaine (Conrad Veidt) is making a relatively good, but unhappy, living as a sideshow attraction known as "The Laughing Man", with Ursus and the captivating and kind hearted, blind girl, Dea (Mary Philbin). Gwynplaine has fallen in love with Dea, but although Dea returns his feelings and Ursus has offered to marry them, Gwynplaine does not think his grinning visage is worthy of such a beautiful creature.

On their travels, Gwynplaine's noble heritage is discovered and Queen Anne (Josephine Crowell) decides that the raunchy, badly behaved Duchess Josiana (Olga Vladimirovna Baklanova) should marry Gwynplaine as the true heir to his father's estates. Things do not go well, as you can imagine.

This film is wonderful. It is shocking and dark with such a horrific premise. The styling of the "Laughing Man" character is very ahead of its time with impressive prosthetics and makeup. He portrays a grotesque yet sympathetic character.

The silent era of films created such beautiful and disturbing films. If you have not seen one yet, I would recommend starting with The Man Who Laughs due to its beautiful score by Ernö Rapée, Lew Pollack and Walter Hirsch (which you will recognise as having been sampled for some of the Batman movies), clear imagery and acting, relatively fluid plot and swashbuckling scenes.

The Man Who Laughs was also the key inspiration behind the Joker character from Batman and Rob Zombie also has a track named in the character's honour.

[Image: Universal Pictures]

 

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Fear Clinic

"Fear Clinic" (2014, Robert Green Hall, Bearing Entertainment, Dry County Films, Fear Chamber Productions, Anchor Bay Entertainment) is based on a web series of the same name. I haven't seen the web series, but it didn't hinder my understanding of the premise of the film.

Dr.Andover (Robert Englund) is a psychiatric doctor who has invented a machine (which is reminiscent of an Iron Lung) which he uses to help his patients confront their greatest fears and phobias, curing them of such.

A group of people who all experienced a traumatic incident together, but who previously were unacquainted, have all been patients of Dr. Andover after the terrible events left them with crippling phobias.

They had thought themselves cured, but a year after their treatments, they all begin to be plagued once again. They independantly return to the clinic, to discover that it is all but shut down and that Dr. Andover is having serious doubts after one patient dies during the treatment and some very real manifestations begin to torture both him and his remaining patients.

So, what to say....

It's a good premise. It's got some really talented genre actors in it and it also has Corey Taylor of Slipknot and Stone Sour in it (and a shedload of not-so-subtle Slipknot and Stone Sour references laced through it). The characters are fine; some interesting even. Maybe not all developed particularly...

The hallucinations are fun and a little gross with some nice, good old fashioned physical effects. And the setting is as to be expected (creepy, old, run down hospital).

So, why am I not raving its praises? Because it's just not worthy. I was confused due to disjointed scripting and thus bored. And not scared.

Robert Englund's character is haunted and withdrawn. He's meant to be that way; it's part of the story. But it just took away some of his iconic charisma.

But that's not my problem. Essentially my problem was the lack of rules. It felt like they had a concept story and a 'verse planned out and then forgot to cement the rules. By the end it was just all the characters going loopy, which didn't fit with the tense, slow build up throughout the rest of the film. And a mishmash of information given to us at the start was left unused, but not in a clever red-herringy way.

It has a lot of potential but just doesn't deliver what I was expecting. A bit of a disappointment really.

Oh, and as much as I love Robert Englund, I've never ever needed to see so much of his bare backside!

Image: as marked

 

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Nightbreed

"Nightbreed" (1990, Clive Barker, Morgan Creek Productions) is an oddity of a movie, based on Barker's own novella "Cabal".

Aaron Boone (Craig Sheffer) is a bit mental. His frankly evil doctor, Philip Decker (David Cronenberg), has convinced him that he is a murderer. Aaron dreams of a place named Midian where monsters and murderers are accepted. He longs to go there.

A series of events leads Aaron to the acquaintance of Narcisse (Hugh Ross), a deranged killer, who confirms his belief in Midian and tells him how to get there, whilst giving himself a rather extreme facial....

While Boone searches for acceptance amongst the deformed creatures of Midian, his girlfriend Lori, (Anne Bobby) is trying to find him, unsure as to why he has run off and left her in the first place.

A very typically styled film from Barker, with elaborate sets, wonderfully outrageous effects and makeup and some nice gore. Unfortunately, the plot wears out after so long and the main character is dull.

On the whole, "Hellraiser" is a much better film, and "Nightbreed" pales in comparison, however, I, as usual, enjoy the styling and feel of this film and can see why it has reached Cult status.

I'm tempted now to read the Novella as my research has shown Barker is particularly disappointed with the way this film was cut and edited. Perhaps his true vision is much more disturbing. I also have to admit I have not put myself through the much longer "Cabal Cut" of this film...

B-movie cheesiness and a fun evil doctor in Cronenberg. Possibly one of the oddest love stories ever captured on film, and a lot of interesting effects makeup. If you're looking for something to keep you smiling on a rainy day, you can do much, much worse.

[Image: Morgan Creek Productions]

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