100 Days of Horror Day Twenty-Five - "The Lost Boys!"

Ghoulish greetings, all.

Wow, we're in the twenties now. I just had to sit back and contemplate that. I've been doing this for over three weeks now and it's still going strong. I'm finding this experience very therapeutic, actually. My life is kind of in upheaval right now and there's an uncertainty to ... well, just about everything. So I find that engaging in this hobby, endeavor, whatever, is distracting enough to give me purpose and something to focus on that I can actually control. Also I'm watching some damn fine movies in the process, learning a bit about myself and spending time with friends and family who are along on this journey.

So anyway, to those who read this - thank you. There are scant few of you (I'm not entirely sure my wife and kids even read this thing), and I am grateful for you all.

And I am thankful for tonight's film, one that shaped my adolescence so deeply I am still affected by it today: Joel Schumaker's classic, "The Lost Boys." I am SO looking forward to this film. I may have some Absinthe or seven as I watch it. Check The Skinny below

Tomorrow's flick - "Paranormal Activity!"

The Lost Boys (1987): Directed by Joel Schumaker. Starring Jason Patric, Kiefer Sutherland, Corey Haim, Corey Feldman, Jamie Gertz, Edward Herrmann and Dianne Wiest.

The Skinny: Who hasn’t seen this movie? Huh? Who? You?! Get out, you’re not welcome here. “The Lost Boys” takes its cue from the “Peter Pan” characters of the same name, who could also fly, stay out all night and never grow old. When brothers Sam and Michael move to Santa Carla, California, with their newly divorced mom, they soon find that there’s a good reason for it being the “Murder Capital of the World.” It’s teeming with some of the coolest vampires ever to strut their stuff on the face of the Earth.

What’s Good: “Say hello to the night! Lost in the shadows!” Maybe I’m sentimental about this film because it came out when I was a teenager and so impressionable, but the bottom line for me is that this is probably in the all-time Vampire Movie Top Five list. Everything about this movie spoke to me – the music, the setting, the actors, the story … I would watch this movie then rewind it (yes, yes, we had VCRs back then, not yer fancy digital video discs) and watch it again. I owned the soundtrack and when it broke, I bought another one, and when that one mysteriously disappeared, I bought yet another one. So, in light of trying to be objectionable, I tried to separate myself from the memory and spectacle of the movie and figure out if it really is as good as I want it to be. And the answer is yes, it is quite good and is still unequalled in the annals of vampire movies and horror movies in general. The characters are likable, even the vamps – and let’s just say here that while these vamps aren’t your glittery “Twilight” types or the effete southern gothic vamps of “True Blood,” they are still badass. You can keep your Edward Cullens and your Sookies – my vamps sleep upside down in caves, frequent the boardwalk and wear the coolest fucking jackets that have ever existed. Like a great indie band, the four “Lost Boys” vamps look like they belong together even though each one has a disparate, original look. The story is great, bolstered by solid performances by Jason Patric and the Coreys. But – let’s be honest here – the whole reason we watch the movie is for Kiefer Sutherland. As the leader of the vamp clan, David, Sutherland pours sensuality and menace into his every word. When he takes a sip from an ornately decorated wine bottle, winces and then smiles as he offers it to Michael (Patric), inside we all know there’s no way to tell this guy “Nah, I’m good.” But perhaps the greatest thing about this movie is the scene where Michael and Star (Gertz) make love, as “Cry Little Sister” by Gerard McMann plays over the scene. When I was a teen, and I heard that song, I wanted to listen to it for the rest of my life and I think I still do. What is it about that fucking jam?

What’s Bad: Jamie Gertz. I’m sorry, she’s pretty but she can’t act. And when I hear her voice, I want to run and hide. Also, you either love The Coreys or you hate them, and I am in the former category. They have great chemistry, let’s face it, and they actually know how to deliver a funny line. Other than that, there are a few pacing problems and Michael’s character suffers from no development so it’s hard to feel bad about it when the vamps start harassing him. But for the most part, this is a winner. It’s sequel, however, “Lost Boys: The Tribe” is awful. It took over 20 years to make it and it was not worth the wait. The late Haim is drugged out of his mind for most of the production and it’s sad and difficult to watch. I am also certain I could care less about the third film, slated for straight to dvd release this fall. I won’t even waste my time.

Why We Like It: WE LOVES IT! For all the reasons above and more. It evokes memories of going to the beach and experiencing the early moments of adolescent independence where you made decisions you didn’t have to consult mommy and daddy about. The movie is all about atmosphere and if you breathe in its charms you’ll find yourself transported to its constructed reality with ease. And as I said before, I wore the soundtrack the hell out – I listened to it constantly and its music swept me away every time and evoked that very atmosphere I just touted. It came at just the right time of my life for it to impress greatly upon me, and for that reason I love it.

Memorable Stuff: It’s packed with stuff that will stick with you. The scene in the cave where the massive mural of Jim Morrison is briefly superimposed over Patric’s face (Patric was shortlisted for the role of Morrison in Oliver Stone’s “The Doors” movie) is exceptional. And of course, any time Kiefer opens his mouth I lean in to catch every word. Once again, an excellent blend of horror and humor and a little pathos mixed in for good measure.

100 Days of Horror Day Twenty-Four - "The Re-Animator!"

Hello my lovelies. And when I say "Hello," you know what I mean ....

Anyway, today sucks. I was behind before I even got out of bed this morning - not that I slept last night. Oh no, that would be too much to ask for.

So I gotta make this brief yet again, but tomorrow (hopefully) I will have time for a bigger post.

But I am excited for tonight's movie - one of my favorites from my teenaged years! Check out the skinny below!

The Re-Animator (1985): Directed by Stuart Gordon. Starring Jeffrey Coombs, Barbara Crampton.

The Skinny: One of the most well known 80s cult films and still one of the most disturbing! Based on a story (“Herbert West – The Re-Animator”) by horror master H.P. Lovecraft, Jeffrey Coombs stars as Herbert West, a young scientist who has isolated a chemical that brings the dead back to life. However, the serum is not perfect and the reanimated dead are violent and dumb. Plus, when a rival scientist gets his hands on the formula, West takes matters of vengeance into his own hands. It only escalates into madness and violence at that point.

What’s Good: Like the classic “Evil Dead” films by Sam Raimi, “Re-Animator” is a sick combination of gore and humor, bolstered by a suitably creepy performance by the incredible Jeffrey Coombs. His slick, smarmy and heavily agitated Herbert West is instantly unlikable and Coombs’ creepiness permeates the whole production. Also, this is a film that uses practical special effects to near perfection – scenes where a headless body carries said head around in a bag are the only unconvincing moments in the film. Well, there’s also the part with the dead cat, where the actors basically hold a stuffed animal to their heads while screaming “GET IT OFF ME!” But, these cheesy elements truly add to the gory mix of humor and horror. This is, without a doubt, a classic 80s cult film – one that effectively launched Coombs’ career and created a series of “Re-Animator” films that are all inferior to this stunning original. The presence scream queen Barbara Crampton – along with some steamy nude scenes – is also a bonus.

What’s Bad: Again, some of the effects are silly, but this is one instance where the silliness is intended. Also, the gore factor is enough to turn some people away – granted it’s no “Saw” or “Hostel,” but there are gushers of blood, dismembered corpses (one that continues to walk, talk and move around despite decapitation), and zombies in varying degrees of decay.

Why We Like It: This is one that has it all – sex, violence, gore, humor and a tragic central figure beautifully interpreted by a talented actor. As a teenager, I watched this movie constantly – I even read the novelization of the film, a copy of which I still have. It was and continues to be one of my favorite films in the genre. Coombs is super intense and never plays the part for the yuks, yet somehow manages to wrench laughs out of the slightest change in his chiseled, stony expressions.

Memorable Stuff: I have great memories of this entire film, but there is one sequence towards the end that is utterly unforgettable. Rival scientist, played by David Gale, kidnaps his former boss’s daughter and attempts to get a little action. Problem is, he’s a decapitated corpse, making his desirability factor considerably reduced. Not to be deterred, however, he simply has his zombie slave – which turns out to be the reanimated corpse of the girl’s father – chain her down to the table so his DISMEMBERED CORPSE CAN HOLD HIS HEAD BETWEEN HER LEGS FOR A LITTLE CUNNILINGUS! Yeah man, you read that shit correctly. And boy oh boy is it graphic. It’s so graphic that as a teen, I didn’t know whether to jerk off or be horrified … okay, let’s face it – we all know I jerked off.

100 Days of Horror Day Twenty-Three -"The Severed Arm!"

Wow, am I tired.

I apologize for the brevity of this post but I'm off to my wife's company picnic and have limited time.

Last night's film, "Drag Me To Hell," was great. All I ever expected from Sam Raimi was there - violence, disgusting sights, quick action-oriented jump cuts ... It was great.

Tonight's movie, however ... is not.

The Severed Arm (1973): Directed by Thomas Alderman. Starring Deborah Walley, Paul Carr, Marvin Kaplan, others.

The Skinny: One of a spate of bad 70s-era exploitation films that are now in the public domain and can be found on any number of compilations. I don’t know who the main star is exactly but the film follows a group of cave explorers who become trapped. As they debate their situation and hunger sets in, they decide to hack off the arm of one randomly chosen victim and eat it. Just after the act is accomplished, however, they are rescued. Now, years later, each of the men who ate of the arm are being killed off one by one.

What’s Good: I own this POS and I only recall watching it once, but I do have some recollection of it, and despite poor (almost non-existent) lighting and shitty dialogue there are actual moments of disturbing horror. When it decided to eat the limb, there is madness and bedlam, most of it in darkness. As the men are picked off one by one, however, it becomes standard stalker fare.

What’s Bad: When I went to IMDB to check the date of production, some of the reviews said things like: “utter crap,” “junk with a capital J,” and others even less friendly. And, I cannot refute them. There is a scene where Marvin Kaplan (of “Alice” fame) is talking to one of the other survivors. In one cute, he is wearing a monstrosity of a polyester pantsuit in lime green. The camera cuts to the person he’s talking to briefly. When it then jumps back to Kaplan, he is wearing the exact same suit, only now it is ORANGE. After a second series of cuts, he is back to the green suit. Now … come on, dude. That’s so fucking bad you want to believe it was intentional. But I really think the costume person – nay, more than half the production team – were a little too high on the groovy 70s.

Why We Like It: Hmmmm … well, I like shitty cinema when it’s done right (if that makes any sense). But this polished turd, I am not too sure about.

Memorable Stuff: All of the above scenes I mentioned are the only things I remember about it, so it must not have left much of an impression on me. We’ll get back to you on all that.

100 Days of Horror Day Twenty-Two - "Drag Me To Hell!"

Wass happenin', vatos?

This marks a first for the 100 Days of Horror challenge - the first movie I haven't actually seen yet! So, by virtue of that fact, there is not much I can give you up front about it.

The last few days' selections have been enjoyable, and I hope this one is no exception. "Hostel" ws actually better than I remember it - I just am not into all that grisly body cutting and limb chopping and torture upon torture. But there is a good story there, so I have some hope for Eli Roth.

Today's feature is the latest for director Sam Raimi (the "Spider-Man" series), and his return to horror - his first since "Army of Darkness" in 1992. So I think this will be worth the effort. The skinny - as far as I can provide - is below.

Up next for tomorrow: "The Severed Arm!"

Drag Me to Hell (200?): Directed by Sam Raimi. Starring Alison Lohman, Justin Long, others ...

The Skinny: This is straight from the Wikipedia article because I have actually yet to see this film (but, again, I own it for some reason or another). “The plot revolves around loan officer Christine Brown (Alison Lohman), who tries to impress her boss by refusing to extend a loan to a gypsy woman by the name of Mrs. Ganush (Lorna Raver). In retaliation, Ganush places a curse on Christine, which, after three days of escalating torment, will plunge her into the depths of Hell to burn for eternity.”

What’s Good: No idea. But I can tell you what I think is good, and that’s director Sam Raimi. Yes, most mainstream movie viewers know him for his work on the “Spider-Man” films, but us horror folks love him more for his “Evil Dead” series. They are some of the best films in the genre, filled with dark humor and rear horror and of course, they star that god of all celluloid, Bruce Campbell. So how bad could this movie be?

What’s Bad: Well, I actually think the PG-13 rating is a hindrance, but from what I’ve read the director the writer – brother Ivan Raimi – wanted the PG-13 rating to appeal to a wider audience. Also, from what I’ve read, Justin Long plays a college professor. Huh? I’m supposed to believe the fucking “I’m a Mac” guy is a fucking professor?! That’s harder to believe than a portal to hell or the fact that Long is somehow nailing Drew Barrymore.

Why We Like It: Who knows if we will. But I have hope, because I know Raimi is a master at dark humor and from what I’ve read, there’s plenty of that to go around!

Memorable Stuff: Gonna have to get back to you on that ‘un!

100 Days of Horror Day Twenty-one - "Hostel."

This is absolutely insane, but it's still happening. My life is in turmoil right now, but it's still happening. I want nothing more than to disappear down a black bottomless pit right now and never return, but still ... it's goes on.

Why?

I think because for one, I need something to hold on to in the midst of this hell. I did almost quit yesterday, and not from the general laziness I sometimes suffer from, but because it seems pointless to continue. I am also carrying on because for once in my fucking pathetic life, I have something to prove. Prove that I can stick to something and see it the whole way through. Prove that I - yes, Shawn Weigel, that evil bastard you love to hate - can make a change like this. And other changes.

So, if you're reading this, understand that this is all occurring while my life seems to be falling apart. I'm trying to pick up the pieces and move ahead, but it's a challenge. But anyway - thank you for reading and for playing along.

Today's movie, "Hostel," is one hell of a piece of work. I think I've seen it like twice and I actually own it for some reason. I think I bought it off of my crackhead neighbor a few years ago when he needed money. Probably for crack, too. But anyway, I'll give it another "crack," so to speak, tonight and see how it plays out. The Skinny below:

20. Hostel (2005): Directed by Eli Roth. Starring Jay Hernandez, Derek Richardson, Eyþór Guðjónsson and Jennifer Lim.

The Skinny: A modern take on classic noir suspense films blended with the extreme of the horror genre, this is one of those movies that I own and yet do know or understand why. Jay Hernandez and his buddies are on a backpacking expedition when a member of their group disappears. Soon, they find themselves trapped in a horrific warehouse where people pay to torture and kill a seemingly endless parade of victims. And that’s the short version.

What’s Good: Honestly, Eli Roth is a decent director. He knows how to keep the suspense levels up and the plot moves along with a darkly humorous undertone. The story itself isn’t exactly new, but this version is frankly far too brutal for my tastes. It’s an early example of the late-90s/early 2000s trend of horror affectionately called “torture porn,” and it’s a bit much for my tender mercies. I mean, a dude gets his Achilles Tendon sliced, fingers are hacked off, heads are drilled and scorched … it’s a far-ass cry from a classic like “Rosemary’s Baby.” There is a definite creepiness to the whole affair, and being set in some ambiguous Slavic-sounding state, it heightens that “I’m out of my element and in over my head” feeling we’ve all had when we’ve been places where we don’t speak the language and we are unfamiliar with the customs. Overall, this is for those horror movie lovers who cheer for the villain and wait for the next creative death scene. Will it be a drill to the temple or an iron stake up the ass? LET’S WATCH!

What’s Bad: Again, if it’s a true horror movie you’re looking for, try “The Exorcist.” Because this is an exercise in testing a viewer’s limits on how much suffering they’re willing to watch another person endure. The problem is, there are aspects to “Hostel” that border on brilliant. The set is a perfect blend of grimy hallways shiny with moisture and backyard abattoir nastiness. Two things bother me up front: one is the cast of absolute unknowns with very little talent except Hernandez, and two is the near pornographic level of violence and disregard for humanity. I understand that this very notion is essential to the center of the film – the Elite Hunting organization and it’s nutty clientele – but this is not entertainment to me. I want to be disturbed on an emotional or deeply psychological level. Films like “Hostel” and the absolutely horrible “Saw” films rely on revulsion to solicit fears instead of a sharp script and good acting. Who cares about one single person in “Hostel?” No one, that’s who – and it’s because we know they’re all just fodder for the axe (or drill or what have you). We like Regan from “The Exorcist,” we like Rosemary from “Rosemary’s Baby.” Can you even remember one character’s name from “Hostel?”

Why We Like It: I don’t know if I do. I remember some very funny things – I guess “sneepur” is some language’s slang for “pussy,” and some dude is wearing a “Sneepur Patrol” shirt, which is damn funny. There is some rue drama when the characters are strapped down and they freak out – I mean, the guy doing the killing doesn’t even speak your language, so how can you plead for mercy? I find I do like the final 20 or so when Hernandez’s character tries to exact some form of revenge on the people who killed his friends. With the hat and overcoat and the steamy train station, it truly summons the images from some of my favorite noir films. But trust me, the similarities end there.

Memorable Stuff: Torture, torture, torture … that’s what I remember. Bombarded with so much of it that the individual instances barely stand out. I do recall screaming when the dude stands up to run only to find his Achilles Tendon severed. Oh yeah, that was fucking nasty. And indeed I was repulsed when the guy had to hide under a pile of bodies to escape – I had to look away, I was so repulsed in fact. But like I said, this isn’t my kind of film. But I’m going to give it another chance.

100 Days of Horror Day Twenty - "The Last Man on Earth."

Hi and welcome to the blog barely anyone reads. My life is falling apart. I have never been so despondent in my entire life. I wish I were fucking dead.

Here's a movie.

19. The Last Man on Earth (1964): Directed by Ubaldo Ragona and Sidney Salkow. Starring Vincent Price, Franca Bettoia, Emma Danieli and Giacomo Rossi-Stuart.

The Skinny: This is an Italian production of a story by Richard Matheson that has been remade twice – first as the 70s-era “The Omega Man,” and most recently as “I Am Legend,” which is the title of the original book. In this version, told mostly in flashback, Vincent Price stars as the eponymous main character – a scientist who has watched nearly the entire world succumb to a horrible virus that turns its victims into vampires. When he sees a woman running around n the daytme, however, he thinks he’s found a survivor at last. Instead, she is a trap set by a slowly evolving new strain of vamp.

What’s Good: This is one of those films that is also in the Public Domain, so there are many versions of it out there – some so-so and some with a decent transfer. But frankly, the movie is raised out of mediocrity by an excellent performance by Vincent Price – who happens to be one of my all-time favorite actors. Much of the film follows Price in his day-to-day labors as he makes stakes, forages for supplies and searches for survivors. He also seeks out vamps and kills them where they lie – something that don’t be sittin’ too well with their vamp buddies. Price lets the signs of madness creep in as the vamps gather around his house at night and chant and throw rocks. He carries the whole film with a tortured, nuanced performance.

What’s Bad: Low budget and a complete lack of other talent. This is seriously a film where the lead actor has to shoulder every single emotional moment because there’s no one else even remotely capable. The special effects are not too bad, especially the Auschwitz-like piles of burning bodies. For the most part, it’s a higher quality B-Movie than most, in great black-an-white, and with a great story ghost written by Matheson himself.

Why We Like It: Of course, Mr. Price and his inimitable voice with its rich timbre and paced delivery. I love that man, god rest his spooky soul. Plus it’s one of those rare B-Moves that’s actually good if you succumb to its charms. I like to put it in when I’m feeling despondent and depressed – it seems to exacerbate that mood. And I love it for that!

Memorable Stuff: Scenes where Price’s daughter is slowly succumbing to the virus are heartbreaking. The final symptom before death and vampiric rebirth is blindness, and when the little girl starts asking for mommy to “come closer,” it’s time to cover the eyes. Also, the final showdown in an abandoned church with hoards of s0-called evolved vampires is sheer terrorizing drama with just a hint of cheese … just how I like’s em!

100 Days of Horror Day Nineteen - "Invasion of the Body Snatchers!"

Ghoulish greetings this wild Wednesday, freaky folks!

Got fitted for a tux today and that's all taken care of now. Made a few phone calls for work, set up a meetng or two and now ... now it's Miller Time!

Well, not exactly but you get the picture? (Yes, we see.)

I'm in a decent mood for a change, though I can't say why. I guess don't count your gift horses until their mouths hatch the goose that lays the golden egg!

And with all that rambling over, let's get on with today's post - "Invasion of the Body Snatchers!"

This is a creep update of the 1956 sci-fi classic and I will thoroughly enjoy watching it tonight! Anyone wanna come along, please let me know!

Invasion of the Body Snatchers (1978): Directed by Philip Kaufman. Starring Donald Sutherland, Leonard Nimoy, Veronica Cartwright, Jeff Goldblum, Brooke Adams and Art Hindle.

The Skinny: This is the second in a series of remakes based on the original 1956 version of the same name, which in turn is based on the sci-fi novel, The Body Snatchers. This version, however, ratchets up the tension and the horror far more than the “Red Scare” undertones of the original. The film follows the lives of several people who begin to notice strange things about their friends, spouses and neighbors. They look and sound the same, but something just isn’t right – and with good reason … they’re pod people!

What’s Good: This film takes many of the conventions of life in the 1970’s – better known as the decade of the “Me Generation” – and turns them on their ear. The EST seminars, the relentless parade of “self-help” books written by half-witted intellectuals and pseudo-shaman-wannabes, and the slowly changing sexual roles in both the workplace and in the household. It’s definitely a clever update of the original, which played on American fears that there’s a frigging Commie Red lurking in every backyard like errant raccoons. Instead of suspecting conspiracy, it’s more self-help mumbo-jumbo, excellently served up by a perfect Leonard Nimoy, playing against type by pushing the emotional output into the stratosphere. Written by sci-fi master W.D. Ricter (“Buckaroo Banzai!”), the script is a perfect blend of paranoud terror and outright madness as the world falls apart around this group of New-Agey friends. And it has an ending that will haunt your mind for years to come. The special effects are quite convincing, especially the pod-to-person transformation sequences.

What’s Bad: It is extremely dated, so the whole “self help obsessed” generational stuff might be lost on younger viewers with no knowledge or memory of the time period. And other than a somewhat muddled action sequence towards the end, the fim is actually an excellent study in paranoia and psychological terror. It’s definitely worth a watch or two – lights off, volume way, way up!

Why We Life it: Again, I have a strange affinity for movies from the 1970s. And this is one of the good ones, with a great cast and an excellent story, Plus there are moments where if you allow yourself to get well into the film, you will find yourself peeking over your shoulder, suddenly wary of that rhododendron you forgot to water last week.

Memorable Stuff: There is a beautifully done introductory scene where we see the spores of the pods drifting away from a ravaged planet on solar winds. And when they land and start to flower on every available plant, there is a creepy image of the “veins” slowly emerging from the pods and slithering there way into the host plant’s leaves. Damn, I wish I knew how they pulled that shit off! And, without giving it away for those who haven’t seen it … that ending is fucking scary as hell. Good luck.