TEN OF MY FAVOURITE MOMENTS IN HORROR CINEMA

In anticipation of Halloween in a few days time here's a list of ten of my favourite moments/scenes from horror cinema. They are not in any order plus they are not all of them scary. But they are some of the moments/scenes that have left a lasting impression on me. There are lots of others that could have been included (and probably should have been) but these ones will do for now. Let me know what you think. Enjoy.

Poltergeist – "Now lets go get your daughter!"
This never fails to give me chills. Pure Spielberg. Zelda Rubinstein is great as Tangina and Jobeth Williams gives one of the best 'mom' performances ever. Plus she's cute.


An American Werewolf in London – On the Moors
It could have been any number of moments from this film but for pure tension, atmosphere and scare value it is hard to top this one.


Ringu – Sadako
Simply one of the most downright creepy, chilling sequences ever.


The Grudge – Bedtime
I wanted to put the original Ju-on clip in but couldn't find it. Still, this is pretty much identical and simply terriyfing on a conceptual level. Bed should always be safe and secure. Brrr


Night of the Living Dead – "They're coming to get you Barbara!"
Romero's opening to his seminal 1968 horror. Weird, unsettling and brilliant!


The Eye – Elevator
Pure tension and creeptastic atmosphere from the Pang Brother's classic chiller. Love it.


Halloween – 1st Person Stabber
Carpenter's masterclass on use of Steadicam and in creating grim atmosphere which will underlie the rest of the film. Genius.


The Exorcist – "The sow is mine!"
I was going to include another clip (the one with the crucifix – you know the one I mean) but couldn't bring myself to do it. Yes, I bottled out. But this one will do fine.


Let the Right One In – "You have to invite me in."
I adore this film. This scene is more emotional than scary being about growing trust and love while still managing to be icky and uncomfortable. The young actors sell it marvelously.


Curse/Night of the Demon (1957) – Forest Chase
A short atmospheric clip from Jacques Tourneur's 1957 British horror classic. A great movie.

BUFFY 4.10 ‘HUSH’

The Gentlemen are coming...

WRITER: Joss Whedon
DIRECTOR: Joss Whedon

WHAT’S THE SITCH?

Buffy has a disturbing dream featuring a glimpse of a very creepy looking ghoul and a little girl singing a strange nursery rhyme. Back in awake land, she and Riley clearly like each other a lot but seem reluctant to communicate that fact to each other. Giles has an old friend to stay (Olivia) so he has Xander take Spike for a few days. Xander though is having problems with Anya. She wants to know where their relationship is going and Xander seems unable to communicate his feelings to her. Meanwhile Willow has joined a disappointing Wicca group but finds a possible new friend in quiet, mousy Tara. Later that night, a group of scary, ghoulishly grinning ‘Gentlemen’ float in to town accompanied by their weird straightjacket-clad henchmen. These ‘Gentlemen’ steal everyone in Sunnydale's voices, before then starting to harvest human hearts from conscious victims who've been rendered unable to scream. Trapped in total silence, Buffy and the gang eventually work out what’s going on. And the next night Buffy sets out on patrol to find and stop the nasty fairytale ‘Gentlemen’ before they can steal any more human hearts. The only problem being, Riley and his soldiers have been sent out too, meaning Buffy and Riley may very soon come face to face while battling the shared demonic threat.

WHAT’S THE SITCH BENEATH THE SITCH?

It’s all about communication. How often what we say gets in the way of what we mean. Actions usually do speak louder than words.

WHO’S GIVING US THE WIGGINS THIS WEEK?

The Gentlemen

WHY IT ROCKS

Everything about ‘Hush’ rocks! It’s a Joss episode and my second favourite episode of Buffy ever.

A legend. This episode is legendary. It can be argued that, along with one or two other episodes of Buffy, ‘Hush’ has transcended the series to become a pop culture entity in its own right. You can watch this ep totally separate from the rest of the series, know what’s going on, and absolutely love it. It is scary, creepy, vicious, visually stylish, funny, thematically rich and just all round fab. One of the best hours of television ever.

The Gentlemen. Inspired by fairytale villains mixed in with the influences of Nosferatu, Dark City’s ‘The Strangers’, and a heavy dose of Tim Burton weirdness, these guys are truly the stuff of nightmares. Their ghoulish appearance, eerie gliding, weirdly polite manner and horribly rictus grins only add to their uber creepiness. The best Buffy monsters by far, they have also earned a place in the wider pantheon of great screen monsters. A genius and truly scary creation. Brrr

Doug Jones. The fabulous mime artist/actor Doug Jones plays the lead Gentleman. You’ll know Doug’s work as Abe Sapien in Hellboy and as Pan in Pan’s Labyrinth amongst others. Once you know him he is easy to spot even under loads of make up. And he always manages to be brilliant!

The script. For a 44 min episode of which 27 mins has no dialogue, Hush is brilliantly written. A lot is exchanged between actors in looks, behaviour, body language i.e. using forms of communication other than speech as is the theme of the tale. Joss packs a lot in to the episode and makes it entirely character based (as always) and very, very funny, not to mention action packed and pretty darn creepy.

The direction and look. Joss also directs and does his usual sterling work. The episode looks gorgeous, from the dark and moody photography to the splendid art direction to the gloriously creepy make up and visual FX. This ep could happily be shown on the big screen. I wish it would be. Joss keeps his usual directorial style of long takes and playing scenes in one shots (keeping the actors in frame at the same time, not cutting between them). This helps lend extra chemistry and energy to scenes.

The score. Christophe Beck provides a lot of music in a wonderfully spooky Danny Elfman-esque score. It reminded me a bit of Sleepy Hollow (which came out about the same time as Hush).

The ‘Who are The Gentlemen?’ lecture theatre scene. Giles provides a hand drawn overhead projector presentation to the gang (while playing Danse Macabre on a tape deck) spelling out who The Gentlemen are and what they plan to do. This scene is utterly brilliant and is now iconic in TV land. So damn funny, so damn cool. The gag with Buffy miming staking someone is pure gold. TV doesn’t get any better than this.

WHY IT SUCKS

It doesn’t. And if you think it does then go away and never speak to me again.

IT’S BUFFTASTIC

Lots of candidates but I love Buffy’s ill-judged staking mime. It always cracks me up.

DIALOGUE TO DIE FOR

Dream Girl's Rhyme: “Can't even shout, can't even cry, The Gentlemen are coming by. Looking in windows, knocking on doors, they need to take seven and they might take yours. Can't call to mom, can't say a word, you're gonna die screaming but you won't be heard.”

Spike: “Sometimes I like to crumble the Weetabix in the blood. Gives it a little texture.”
Giles: “Since the picture you just painted means that I will never touch food of any kind again, you'll just have to pick it up yourself.”
Spike: “Sissy.”

Anya (to Xander): “You don't need me. All you care about is lots of orgasms.”
(Giles and Spike stare at them.)
Xander: “OK, remember how we talked about private conversations? How they're less private when they're in front of my friends?”
Spike: “Oh, we're not your friends; go on.”
Giles: “Please don’t.”

Giles: “I have a friend who's coming to town, and I'd like us to be alone.”
Anya: “Oh, you mean an orgasm friend?”
Giles: “Yes, that's exactly the most appalling thing you could've said.”

AND ANOTHER THING

Joss Whedon received an Emmy nomination for this episode, in the category of Outstanding Writing in a Drama Series. The episode also received a nomination for Outstanding Cinematography. It didn’t win either. Dammit!

The newscaster seen telling the world about the mysterious laryngitis that has swept through Sunnydale is Carlos Amezcua, an actual newscaster on KTLA's morning news, a WB affiliate in Los Angeles.

The music Giles plays during his transparency lecture is Danse Macabre. It was also the theme for the BBC’s Jonathan Creek, which co-starred Tony Head in its first episode.

’Hush’ is the episode where we first meet Tara played by Amber Benson. Tara will go on to become Willow’s girlfriend and a much-loved character in the show.

Several members of the cast are on record as being well and truly creeped out by having The Gentlemen around on set. Apparently they looked and behaved just as creepy off camera as on. Just no heart stealing I hope.

HOW MANY STAKES?

Silence is golden. 5+ (out of 5)

A Belated Halloween Trick ‘r Treat Treat

Okay, so I’m a bit late with this one seeing as how Halloween is a few weeks gone now. But better late than never I guess.

If you haven’t seen it then Trick ‘r Treat is a little gem of a film; a heartfelt ode to the lore and myth of the 31st October, to the elements of that day which we are all familiar with. It’s an anthology, a portmanteau horror movie similar in vein to the likes of Creepshow and the lurid films made by us Brits in the 60’s and 70’s (Tales from the Crypt, Dr Terror’s House of Horrors, Torture Garden, The Vault of Horror, Asylum, From Beyond the Grave etc.) But Trick ‘r Treat differs in that the four main stories are not separated and are all interconnected, taking place on the same night, in the same small Ohio town. If you watch one story carefully you will see elements of the other stories unfolding in the background as the timelines of the four tales are rather twisty and turny with the film ending essentially where it begins.

The four stories are:

The Principal
Child hating Principle Wilkins (Dylan Baker), gets up to some sadistic business on Halloween night involving poisoned candy, bloody murder and the carving of icky jack-o-lanterns with his impatient young son.

The School Bus Massacre Revisited
Five kids, Macy (Britt McKillip), Schrader (Jean-Luc Bilodeau), Sara (Isabelle Deluce), Chip (Alberto Ghisi), and Rhonda (Samm Todd), head for to the local quarry where Macy tells the local urban legend of "The Halloween School Bus Massacre". But as the group investigates the quarry, a ghoulish prank soon turns deadly for the terrified kids.

Surprise Party
Laurie (Anna Paquin), a young, self-conscious "virgin", goes into the woods after deciding to separate from her group of promiscuous friends. But deep in the woods a scary man in black attacks her, while her sister and her friends’ party nearby with various men they’ve picked up along the way.

Meet Sam
Mr Kreeg (Brian Cox), a cantankerous, Halloween-hating old man who lives alone with his dog, is trapped and stalked in his own home by a weird and creepy childlike figure with a burlap mask and a fiendish love for candy.

My personal favourite of these is Surprise Party as it is the most fairytale of the lot and ends with a great twist while also connecting effortlessly with one of the other stories. Oh, and Anna Paquin is in it and she’s great. But The Principle gives Surprise Party a close run, mostly for Dylan Baker who gives a deliciously sick yet charming performance as the evil Mr Wilkins.

All four stories are intertwined by location but what binds them all together is Sam, the childlike, burlap masked little devil who appears somewhere in each but features most prominently in the pre-title sequence and in the final story. Sam is essentially the spirit of Halloween, a creepy little sprite who lurks and watches and waits for people to make a mistake in their Halloween traditions and who then pays them out in the nastiest of ways. He’s a great little character who has no dialogue but is played with scary, malicious glee by child actor Quinn Lord.

Writer/director Mike Dougherty (X2, Superman Returns), who made his directing debut here, is a talented graphic artist with darkly playful sensibilities that remind of a young Tim Burton. He is also a friend and protégé of director Bryan Singer having written X2 and Superman Returns for the man with regular co-writer Dan Harris. Singer produced Trick ‘r Treat and as a first time director Dougherty must have studied his mentors directing style in great detail. For Trick ‘r Treat, like all of Bryan Singer’s own films, is beautifully made with excellent actors such as Brian Cox, Dylan Baker and Anna Paquin, and shot and edited with a steady, deliberate pace. It is also one of the most beautiful looking films of recent years. Glen MacPherson’s gorgeous photography bathes the film in a lovely Autumn gold hue which helps add to the fairytale feel along with the classy, detailed and stylised production design of Mark Freeborn and art direction of Tony Wohlgemuth.

Trick ‘r Treat was made in 2007 for theatrical release but for corporate reasons was eventually released straight to DVD late 2009 despite it already winning awards and critical plaudits. A crying shame as this little gem, along with John Carpenter’s Halloween, is the quintessential Halloween movie and deserves to be seen on a big screen with an enthusiastic audience cheering on little devil Sam in his gleefully sadistic mission.

In the end the best thing I can say about Trick ‘r Treat is that it is fun. It’s a lot of ghoulish, black humoured fun. It’s not especially scary. It’s not meant to be. It’s meant to be a celebration of the traditions and the fun of Halloween, a cautionary, spooky fairytale. And I reckon it gets it spot on.

Long live Sam.

Trust Him. He's The Doctor.

Matt Smith's debut as The Doctor has now aired in the UK.

And I gotta say...it was brilliant!

Steven Moffat's rejuvenated Who is (pardon the pun) just what The Doctor ordered. The tone is indeed like Moffat’s promised dark fairytale - especially the first ten minutes or so of this Moffat written story titled The Eleventh Hour. This episode charts the first and then second meeting between the new Doctor and his new companion Amy Pond. And this meeting is quite special, clever and touching.

So, most importantly, how is our new Doctor?

He's great.

Being still in the grip of his regeneration cycle Smith's Doctor is rather confused, manic, and still a bit Tennant-y in his ways. But as the episode goes on he slowly becomes more of his own man. Eccentric in a young-yet-old professor-ish way, he is also effortlessly witty, a bit goofy, a bit reckless and quite a lot charming. Smith's Doctor makes an instantly great impression. The food tasting scene with the little girl in the kitchen is simply brilliant. “Fish Custard.” LOL. You can see why Smith leapt out at Moffat and co. during auditions. He genuinely does have an odd, otherworldly quality to him. And as new companion Amy Pond, Karen Gillan is very good too. In this episode she is all (lovely) legs, fiery red hair and cynical attitude. She’s a bit messed up, a bit of a bad girl and doesn’t really trust The Doctor and isn’t afraid to give him what for. She is also very, very easy on the eye. Amy and The Doctor should prove for an interesting and fiery dynamic with their relationship having been set up in a very cool and intriguing way.

And the story? It’s fine. It does the job. An escaped intergalactic shape-shifting alien prisoner is hiding out on Earth while the Prison Guards (giant flying eyeballs) arrive to give the world only twenty minutes to hand the prisoner over before they destroy the whole planet. As a story it’s not as good as what Mr Moffat has given us before (we’ve been spoiled) and he uses it mostly as a hanger for introducing the new Doctor and the new feel to the series as well as reminding us of its mythical heritage. And in that way it works spot on. But Moffat still manages to do what he always does so brilliantly. He layers his script with smart precision plotting and intensely creative ideas while also inventing scary images and creepy concepts based around things an audience (especially kids) can relate to as being odd and kinda disturbing at a very basic level. At night a big crack in the wall of a child’s bedroom becomes sinister and so very creepy with whispered voices leaking out. A bleak phrase is repeated over and over through every piece of electronic communications equipment everywhere. Extra rooms in a house seem to appear but are only visible glimpsed through the corner of the eye. An alien changes itself to appear as regular people but gets it a bit wrong, appearing as a mother walking hand in hand with twin little girls, except the children speak with the mothers voice and vice versa. And it also appears as a man walking a dog, but the man barks and growls, not the dog. Weird and properly creepy. And Moffat being Moffat he also laces his script with some great quips and one liners. “You’re Scottish. Fry something!” The direction of the episode is excellent too. There are two stand out moments: a glimpse in to The Doctors mind as he recalls an event that has just occurred, looking for a clue in his own memory. Then, later on, glimpses of all past ten Doctors ending with the heroic emergence of Doctor number eleven to confront the bad guys. Also, the first ten or so minutes of the Doctor crashing the TARDIS and meeting a little girl left alone in her house and scared by the sinister crack in her wall is just all-round superlative. A very special shout out goes to young Caitlin Blackwood who plays said little girl. She is wonderful and does a quite brilliant job opposite Matt Smith.

As well as a regenerated Doctor, the rest of the show has had a ground up regeneration too. There’s a new title sequence with a dark and scary time tunnel complete with lightening bolts striking the TARDIS. And there’s a new, more electronic and choral version of the iconic theme. The TARDIS has also regenerated after being almost wrecked at the episode’s start. It looks newer and brighter outside while inside the console room is twice as big and on multiple levels with curved and odd-angled walls and with stairs going off in many directions. It looks weird and very, very cool.

So colour me impressed. I could tell within the first ten minutes that I loved this new take on our favourite Timelord, it being much closer to my own personal tastes than that of RTD’s version. Not to take anything away from the awesome job Russell T did, but I just love the whole dark fairytale vibe, the more sinister-yet-playful feel. And I can see a whole new generation of kids properly hiding behind their couch come Saturday evenings as a result. And their parents might just be joining them.

So bring it on. And like the man says: “Trust me. I’m the Doctor.”

Indeed you are, sir.