Devil’s Due (2014)

devilsduecover01There sure is a lot of hate for a pretty good movie.  Maybe I am just too forgiving.  Of course, it has its flaws, but it also has some great scenes, things I had never seen before, and even it gave me a legitimate chill at one point.  What more can you ask from a movie?

The biggest gripe seems to be with the found-footage format, and it is sometimes pretty goofy.  Mostly it is being shot by husband Zach McCall, but there are also inserts from a police station camera, a supermarket security camera, rogue cameras installed by Satan worshipers, and the craziest — a trio of teenagers who also just happen to film everything.  There is no pretense that this footage was ever actually found and edited into what we are watching.  This is not found-footage, this is unfound-footage.  You can bitch about the presentation, or you can roll with it.  Ich bin ein roller.

In brief scenes of the wedding and the night before we meet Zach and the very cute Samantha McCall (Allison Miller).  If there is anything important here, I missed it.  We do briefly see a preacher — Bernard from Lost — who shows up later, and get the couple’s names, but otherwise, not much.  Minutes later, they are winging it to the Dominican Republic for the honeymoon.

devilsduesam02Sam has her palm read, and it goes about as well as it goes in every movie.  The reader tells her she’s had hard times, but now is happy — oh, that’s sweet; that she has no family, no past — that’s, er, harsh but factual; and, oh yeah, she is born from death!  This last bit is literally true as her pregnant mother was killed in a car crash, and Sam was cut out of her belly.  The palm reader flips out, repeating, “They’ve been waiting”, prompting the McCalls to run from the shop.

They immediately become lost after dark in the Dominican Republic which is basis enough for a horror movie.  They flag down a taxi and the driver offers to take them to a club for a drink.  Despite flying out the next morning, being tired, lost, nervous about their surroundings and freaked out by the palm reader — sure, let’s have a drink!  He takes them to a place is pretty sketchy, down dark corridors decorated in the Hostel / Saw motif.  Shockingly, they actually do emerge from this filthy trek a) alive and b) into a swingin’ club.

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Just another gratuitous shot

We get footage of them drinking, dancing,having a good time there before the picture becomes choppy and we get just brief glimpses of them being carried out of the club.  then a satanic ritual is performed on a flaming Quake II logo (because what other kind of ritual is there?).  Nixonian gap in the tape / they are back in the hotel with no memory of how they got there.  Seconds later they are back home in the US.

Either 5 minutes or 7 weeks later, Sam announces that she is pregnant.  Not sure what this guy Zach does for a living, but at about 25 he’s got a McMansion, unlimited free time, a hot wife, and no financial worries about an unplanned child.  Guy Woodhouse had to sell his soul for this kind of life.

After Sam’s first ultrasound, we start getting indications that all might not be well with her pregnancy.  In a bit reminiscent of Paranormal Activity we get a night vision shot of Sam violently grabbing Zach’s wrist as she continues to sleep.  Things get progressively weirder from here.

Part of the weirdness is in the POV.  For the first time, except briefly in the film’s opening shot, we are viewing the action from a non-McCall POV.  Now, we get several shots from security cameras of Sam shopping in the market before pausing in front of the meat case.  She pauses, takes a package and begins eating the raw meat.  Say, that is crazy — she’s is a vegetarian!

There is more weirdness, best left unspoiled.

Thank God, the cult installs hidden cameras in the McCall house to eliminate the need for Zach to be filming everything.  Coincidentally, this happens at just the moment Zach stops filming everything.  My favorite, and least practical, is the Arbogast-cam that mimics the POV when Martin Balsam gets stabbed n Psycho.

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Arbogast-Cam

When Sam and Zach attend a communion service, ya just knows there is going to be a problem.  Sure enough, Pastor Bernard starts sputtering, and bleeding from the nose onto his nice clean frock or tunic or vestment or whatever it is that they wear.  He is staring at Sam, knowing that she is somehow responsible for this and will damn well pay the cleaning bill.  There is a nice blink-and-you-miss-it moment as the camera pans past Sam’s profile and she is sporting some cool red devil eyes.

devilsduesam01Later, Zach is reviewing tapes and spots the taxi driver from the Dominican Republic in the church during the pastor’s seizure.  He was not detected as being a communion-crasher at the service, which is shocking because 1) he is not the sort of Dominican they are used to seeing in the pews, and 2) not the kind of Republican either, for that matter.

He also finally sees the few frames that show him and Sam being hauled out of the club, and the flaming Quake II satanic ritual.

Zach goes to see Pastor Bernard, and shows him the symbols that appeared on the tape.  Whoops, it turns out they are not the logo for Quake II, but religious symbols heralding the return of the anti-Christs — plural.   That seems a little unfair — it should be one anti per Christ.  He tells Zach to get the hell out of his room.

Now we come to the scene that is worth the price of admission.  We cut to 3 teenagers who also have a fetish for filming.  What happens next is exhilarating.  And that’s all I have to say about that.

Actually, probably best not to even document the rest.  From this point on, the pace and chills really accelerate.

The last scene is another honeymooning American couple, this time in Paris.  They are approached by the same taxi driver.  Being another dopey camera-wielding couple, at this point, I feel they deserve whatever they get.

I rate it a 600 out of 666.

Post-Post Leftovers:

  • From the directors of the “10/31/98” episode of V/H/S, which was also pretty good.  Strangely, I don’t remember much about it except that it was good.  Maybe it just seemed good right next to the God-awful wraparound.
  • According to IMDb, there is an uncredited actor in this named Spencer Tracey.  Why would you even attempt a movie career with that name?  Can it possibly help you?  Edward Norton had the good sense not to go by “Ed“.  Might I suggest “Spence”, at the very least?
  • Just discovered that on The Honeymooners, Ed Norton’s middle name was Lillywhite.  Hate to think what it might have been in the 2005 version with Cedric the Entertainer.
  • Why does the anti-Christ have to be American?  Oh yeah — Hollywood.
  • Pregnant women are smug.

Creature from the Black Lagoon (1954)

creaturecover01The titular Creature was the last of the iconic Universal Monsters; maybe even the last American horror movie icon until the slashers of the late 70’s.    The Universal Monster Industrial Complex had continued to crank out product, but this was the first film since 1941 that did not recycle classic characters, or feature new ones that just did not catch on.

It is also the first big one that feels like it takes place in our world.  Although it takes place in the Amazon, the main characters are Americans; it is not tied by setting or myth to Europe; and the technology is state-of-the-art 1954.

It does, however, retain the concept of the sympathetic creature.  Even as the creature is menacing Julie Adams, it is tough not to feel for him.  We are, after all, on his turf (or, more accurately, surf and turf as he is amphibian).  He seems to be alone; a sentient being, a million years out of time.  Plus, just so damn ugly.  When he is shot with the spear gun, you are really rooting for him.

Carl Maia discovers a fossilized hand sticking out of a cliff wall.  Because he is a geologist, Maia consults with his former student David Reed who is an ichthyologist.  Although why a fish doctor was trained by a rock doctor is not explained.  And why call a fish doctor anyway since I can’t imagine hands being raised much in his class except to go to the restroom.  I guess Maia had no anthropology students.

Maia and Reed charter The Rita to investigate the site of the fossil.  They are joined by Reed’s boss Mark Williams and his — ahem — Kay Lawrence.  It is never clear what Kay’s role is.  She is Reed’s girlfriend, but seems to also be a colleague despite making no contribution.  But the same could be said of Whit Bissell’s character.

You really want to catch Julie Adams at the right angle.  Sometimes she would be fairly plain.  Other times, especially when smiling, she could be beautiful.  At all times, though, she radiates a tremendously warm, likable aura, and looks very snappy in each of her 15 costume changes; this woman packs more cruise-wear than Ginger Grant.  Sadly, Reed and Williams spend more time in shorty-shorts than Kay does; but she does have that iconic white bathing suit.  In one scene.

20140531_155057The group discovers what we already witnessed — Maia’s men are dead and the camp has been trashed.  Kay waits on the dock where we get our first glance at the monster — or at least one webbed hand. He makes a slow grab for Kay’s well-turned ankle, accompanied by his signature 3-tone brass band stinger.

They find nothing more at the first site and decide to travel up river to the titular Black Lagoon for answers.  Reed tells Kay that this area is just as it was 150 million years ago in the Devonian period.  Unfortunately, the Devonian period ended 360 million years ago; a buck-fifty only gets you back to the Jurassic.  Are we sure this Maia guy is really a teacher?

Meanwhile, back at the lagoon, Williams has brought out a weapon that we know will be used soon due to the rule of Chekhov’s Spear-Gun.  He and Reed put on Scuba gear and dive to check out the flora, fauna, rocks and fossils.  For a place called Black Lagoon, the water is pretty clear.

Some people seem to have a problem with the amount of swimming in this movie.  Maybe it is padding out the time a little, but it really is pretty entrancing.  How often do you really see people in this environment, moving gracefully like they are flying?  And there are long takes, not a flurry of CGI with .5-second cuts that send you into an epileptic fit.  Someone is actually doing this, and you can empathize with them as a human being.  The clear water combined with the great B&W cinematography make these scenes hypnotic.

25 minutes into the film, we get our first glimpse of the Creature.  He is able to avoid the 2 men, but we get a good sense of what he is.

20140531_155446aNot being aware of the Creature below, Kay goes for swim.  With all the alligators, leeches, piranhas, and those little fish that crawl up your urinary tract, she is still insane to dive in.  Again with the swimming!  But with an added attraction this time; actually two attractions.  No, not those two.

Kay herself is the first attraction, certainly more-so than the dudes.  She even manages to work a few Cirque du Soleil moves into her swim.  Secondly, the Creature is not just hiding this time, he is shadowing her, mimicking her moves just below.  As she swims on the surface, he swims belly-up just inches beneath her.  Again, there is that graceful feeling of flying, in this case like that scene in Top Gun.

20140531_160828As he reaches out for her ankle — for the second time now — the men-folk realize she is 100 yards out and panic. They move the boat toward her and she swims to meet it.  She gets safely on board, but the boat is rocked.  The Creature is caught in the fishing net, but when it is hauled aboard, it is torn apart with only a Lee Press-On Claw left behind.

The men again take to the water in pursuit; Williams with his spear-gun, and this time Reed takes a camera the size of a Volkswagen.  Williams does get a spear into the creature, but it is still able to out-swim them and dive into a crevasse.  Back on the boat, Reed is disappointed that he only got one shot and the Creature is not in it.

Of course, the Creature does eventually get his webbed hands on Kay and dives with her down to his grotto. There is more death and destruction, but not enough to preclude 2 sequels.

I appreciated that this film, more than the other Universal Classics, got out of the sound-stage.  Despite a few really bad rear-projections, it is obvious that much time was spent on a real boat, and underwater.  Overall, a very good watch.  The Blu-Ray has a few grainy scenes, but was mostly excellent.  I will enjoy watching this again some time without having to take notes.

I rate it 17,000 out of 20,000 leagues under the sea.

Post-Post Leftovers:

  • That grotto was strange.  The Creature dove 50 feet down to it, but there seemed to be a rear-entrance at ground level.  There was even a bat in there.  Not impossible, just pretty convenient for the script.
  • Also convenient but not impossible: A exposed fossilized hand sticking out of the side of a cliff.
  • Julie Adams has a huge resume, but she never appeared on my radar until she showed up in an episode of Lost in 2006.
  • We are currently in the Quaternary Period of the Cenozoic Era.  Will there ever be a scientist deciding, “That’s it, Quaternary is over.  We’re in the [whatever’s next] starting tomorrow.”
  • An intricate analysis of why Ginger and the other castaways had so many clothes is at the bottom of this page.  And here is a lengthy, persuasive case for Ginger over Mary Anne.
  • The Creature was played by one guy on land, and a different guy in the water.  I understand maybe the land-guy couldn’t swim, but could the water-guy not walk? Probably a union thing.

White Zombie (1932)

wzcover0120 horror movies for $5; what could possibly go wrong?  Part IV.

This is not part of the Universal Classic Monsters box set.  I am going to give it the benefit of the doubt and say that is only because it is not a Universal picture.

Betrothed couple Madeline & Neil are being taken by horse-drawn carriage to the plantation of Charles Beaumont, when they encounter a funeral taking place in the road.  The driver explains that burials are made there to protect the dead — body-snatchers do not want any witnesses; also probably not too interested in being trampled to death by horses-drawn carriages, so a win-win.

wzbela03The driver later needs directions and for reasons unknown, Bela Lugosi happens to be standing by the side of the road.  The driver, to the shame of men everywhere, pulls over and asks for directions.  Lugosi ignores the driver and approaches the passenger compartment.  Silently, he stares at the couple, placing his hand on the door, and on Madeline’s scarf.  The driver sees Lugosi’s zombie entourage shambling up and gets the carriage moving again.  Lugosi is left with a handful of Madeline’s scarf, which luckily was not too tightly knotted around her neck.

Only 4 minutes in, but I was surprised that I was finding this movie to be pretty effective for an unremastered public domain joint.  The drums and the native chanting create a chilling atmosphere.  The drive-by funeral and scene with Lugosi already provided some iconic visuals.

At their Haitian plantation destination, Neil asks the driver why he was so reckless in driving away.  He explains that “they were not men, they were dead bodies, zombies, the living dead, corpses taken from their graves, made to work in the sugar mills and fields at night”.

Neil & Madeline meet local missionary Bruner at the Beaumont estate.  Madeline says she just met Beaumont on the boat from New York, coming to marry Neil in Port-au-Prince.  The missionary says that Beaumont doesn’t usually take an interest in people like this.  Beaumont has also offered to make Neil his agent in New York despite his obvious inability to put 2 and 2 together.

Beaumont looks a little like Liberace, but even that does not make him the creepiest resident of the estate.  His butler Silver is not one of the living dead, but the cadaverous servant could be one of the dead living.  Some clunky dialogue mixed with some missing footage make this an awkward, choppy scene.  Somehow, even its imperfections worked for me.  It is 80 years old, after all.

After greeting Neil, Madeline and Bruner, Beaumont boards a coach driven by a zombie.  Again, the atmosphere is well set with the deafening croaking of tree frogs, and the blank-faced zombie driver.

wzmill01Beaumont arrives at the mill of Murder Legendre (Lugosi).  In yet another iconic scene, we see Zombies Local 102 mindlessly carrying in baskets of sugar cane and dumping them into a thresher.  Other zombies are slowly turning a big wheel, grinding the cane.  When one of the zombies falls into the thresher, there is no move to save him, or stop the grinding.  None of them misses a step.  For the love of God, where is the shop steward?

Beaumont has the hots for Madeline, and has come to Legendre for help.  Legendre is the proverbial hammer-wielder who sees every problem as a nail, ergo his solution is to make her a zombie.  Really, what did Beaumont expect?  You’re taking love advice from a guy named Murder, dude.

To his credit, Beaumont thinks that might be a tad extreme.  Not so much out of concern for Madeline, but because he would have to live with this dead-eyed thing.  Even while escorting Madeline to the altar, he is still hitting on her.  Thank God his brother George wasn’t there to see it.

Ever the romantic, Legendre still wants to get these crazy kids together.  He wraps her purloined scarf around a candle, and lights it from a lamp to induce a trance.  At the reception, looking into a cup of tea, she sees Legendre’s piercing eyes and collapses.  There is a hokie but great shot as Legendre walks to the camera.wzzombie01a

Madeline is buried in a huge, easy-access, handi-capable crypt, where Beaumont, Legendre and the zombie crew retrieve her while still fresh.

After a night of drinking, making a stumbling fool of himself, Neil goes to visit Madeline’s grave.  Discovering it is deficient in bodies to the tune of one, he consults Bruner.  The missionary tells him that either the body was stolen to use her bones in a ceremony, or she is not dead.

Legendre has reanimated Madeline, but Beaumont can see there is no light in her eyes, she has no soul.  Strangely, however, she is able to play the piano, which should have appealed to this Liberace doppelganger.  He asks Legendre to restore her, but there is no way; well, not one that Legendre cares to reveal.  But Legendre does the next best thing and zombifies Beaumont, clearly thinking that the 1930’s were not ready for a mixed marriage.

In what plays out almost as a silent movie, Legendre compels Madeline to stab Neil, but she resists and runs away.  Neil is able to follow her out of the castle to an escarpment.  Legendre makes with the trance again and his zombie posse comes to his aid.

When Bruner knocks Legendre unconscious, the zombies become confused and began shambling off the side of the escarpment like lemmings.  Madeline comes to life for a moment, even able to smile.

As Legendre regains consciousness, she slips back under his control.  Beaumont, who had also experienced a brief moment of lucidity, comes down the stairs and tosses Legendre off the escarpment.

wzmad01Once Legendre is dead, his control over Madeline is broken and she awakens.  Great for her and Neil, but not so much for the poor saps who threw themselves off a cliff 30 seconds before their potential salvation.  And not to quibble, but she was dead-dead, not only mostly-dead.  I buy Legendre reanimating the dead as zombies, but this was a full-on resurrection.

On the Universal Classic Monsters scale, I give it a Wolf Man.  Shockingly, I have liked 4 of 4 from the $5 box set.

Post-Post Leftovers:

  • Considered to be the 1st feature-length zombie film.
  • White Zombie was released when genre master Charles Beaumont was 3 years old.  So, just coincidence.
  • Lest you think Mr. & Mrs. Legendre named their precious little bundle of joy Murder, the name is in quotes in the credits.  How he acquired this nickname is not addressed, but is surely a charming anecdote.
  • Although Neil’s drinking binge is terribly overacted, it is set to some great music, and features great silhouettes on the wall of dancers who are never seen.
  • The film quality is fairly poor with hazy visuals, bad background noise, music gaps and missing frames.  I watched the You-Tube version which was in better shape than the DVD version.  There is a remastered Blu-Ray version that I hope to watch someday.
  • Vanity Fair unfairly included it in an article called “the Worst Movie of 1932.”  Although, to VF’s credit, it did only award it 2nd-worst status for the year.  And have some sympathy for them; JFK was still just 15 so they couldn’t devote every other goddamn issue to that family yet.
  • I have no idea what a thresher actually is, but that sounds like a good name for that grinding machinery.
  • Crypt: A subterranean chamber or vault.  Tomb: An excavation for burial of a corpse; or mausoleum / burial chamber.  Grave: An excavation made in the earth to bury a dead body.  Just so we’ve got that straight.
  • Bruner needing a match has got to be the lamest character trait / comedy relief in movie history.

Steve Jobs – Walter Isaacson (2011)

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NOTE: this is a palate cleanser after a month of daily genre postings.

I am not an Apple user.  I own no Apple products.  In fact, I think they are a little bit of a cult.  But I know a good story when I see one.

I picked up this book because Steve Jobs was such an interesting figure.  But what surprised me most about this book had nothing to do with Jobs — there won’t be too many revelations for anyone who has followed the computer industry at all.  I was impressed by how well the book was put together by Walter Isaacson.

I am immediately bored by biographies that start out at the big bang, and waste 100 pages getting to the subject.  Isaacson takes care of the preliminaries and gets to “Steve Jobs” the character in pretty short order.  Of course it helps that Jobs became pretty interesting at a young age.

The milestones, products and key people in his life are presented clearly and concisely — this book moves.  Isaacson has done a great job of sticking to the important topics and skimming quickly over most distractions.  The only time I got a little restless was toward the end.  I think that is probably true of any contemporary non-fiction book.  As events approach the current day, things just seem to get frayed and less important (other than his fate, of course).

I just deleted a few small complaints because 1) who am I to judge, and 2) this is a great book, and not just because of the subject.

Etc.

  • Holy cow, were there a lot of dudes crying in this book.
  • Walter Isaacson has also written biographies of Albert Einstein and Benjamin Franklin which I now plan to read.  The one about Henry Kissinger, not so much.
  • This was the first time I ever got the sense of a Board of Directors actually doing something.  Normally all you ever hear is log-rolling: serving on each others boards, approving astronomical salaries, rubber-stamping proposals; or people being appointed purely because they are famous.  The Board here seemed engaged, which is even more amazing given who they were dealing with.  And that one of them was Al Gore.

How to be a Serial Killer (2008)

howtocover01This one sat in the streaming queue for a while.  First, I’m not usually that fond of horror comedy (although Tucker & Dale has warmed me up to it).  Second, I expected it to be another Behind the Mask: The Rise of Leslie Vernon.

BtM:TRoLV was good, but it always nagged at me that everyone did not take it seriously from the start that he was a serial killer.  I got that same vibe in the beginning here from the titular infomercial on how to be a serial killer.

It quickly won me over due to the great production of the infomercial, the strength of Dameon Clarke’s performance as Mike Wilson, and me realizing that the infomercial was just a Rupert Pupkin type fantasy playing out in his mind.

It starts off in a Rocket Video store where a rude customer is hassling the clerk.  Wilson spots the dweeby put-upon clerk as a potential protege.  Mullet – check, baseball cap – check, shirt buttoned to the very top – check, and his name is Bart.   Plus, working in a video rental store, he’s about to have a lot of free time.

They follow the customer to the back of the store and Mike kills him. A strong relationship is forged quickly as Bart immediately bonds with Wilson as the Yoda to his Luke Skywalker — if Yoda were a serial killer, and bore a close resemblance to John Cusack.

howtorules01Wilson shows him the ropes of the serial killing game (literally and figuratively), careful not to move too fast with his student.  He gives him weapons training, tells him who makes a good victim, etc.

This is interspersed with bullet points from Wilson’s fantasy infomercial on how to be a serial killer.  Don’t steal, don’t rape, respect women, don’t kill animals or children, help the homeless.  This guy is actually a better citizen than me; except for, you know, the murders.  He even suggests that SKs benefit society, and that maybe he would have even killed Hitler if he was around back then.

A pivotal event sends Wilson and Bart on the run for the last half of the movie.  This is a great turn as it prevents the infomercial / mentoring material from wearing out its welcome.  I appreciated the new direction and situations they got into.

I rate this a Season 4 of Dexter.

Post-Post Leftovers:

  • Just to be clear: you must respect women, but that doesn’t mean you can’t kill them.
  • The score is great, but you might want to turn down that sub-woofer; the bass is brutal.
  • Strange that Yoda passed the spell-check, but Skywalker did not.
  • I will assume it was intentional disrespect and not an error that the picture of Hitler was reversed in this shot.  That’ll teach’m!howtoswastika01