Category Archives: Horror

The World of the Dead and the World of the Living: The Others, the Film

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Okay, so the lit-tra-chure purists complain that this film, which some say was inspired by Henry James’ novella The Turn of the Screw, isn’t really like the book. In The Turn of the Screw, a governess at an isolated estate with two young children in her care claims that she sees ghosts. Further, the governess becomes convinced that the children already know about the ghosts even if they never admit to actually seeing them. Because the governess is completely psychologically unreliable, and because viewers’ perspective is limited to that of the emotionally vulnerable woman, we never know if there are actually any ghosts roaming about the old mansion or whether the governess is losing her mind.

The Innocents (C)

Some film buffs prefer the 1956 Deborah Kerr version of The Innocents to Alejandro Amenábar film The Others because they say the former is closer to James’ book, and The Innocents is a fantastic suspense film. But for a suspense film that I want to watch over and over, give me Nicole Kidman and the stunning child actors in The Others (2001), written and directed by Amenábar, which is a combination ghost story and psychological suspense thriller. Like the governess in Turn of the Screw and The Innocents, Kidman’s character is alone in an isolated mansion with two young children, and strange things begin to happen. Strange things that make her character wonder if she’s losing her mind. But unlike either the novella or the earlier film, what’s really happening in The Others is even more horrifying than anything the isolated woman might imagine. You’ll have to watch the film several times to see all the clues you missed the first time, but you won’t mind because The Others is one of the best suspense films ever made.

Nicole Kidman as Grace, The Others © Lionsgate

In a secluded island mansion during World War II, a sad, lonely, and devoutly religious wife, Grace (Nicole Kidman), patiently cares for her home and two children, Anne (Alakina Mann)

Alikina Mann as Anne, The Others © Lionsgate

and Nicholas (James Bentley),

Nicole Kidman as Grace, and James Bentley as Nicholas, The Others © Lionsgate

while waiting for her husband (Christopher Eccelston) to return from the War.

Christopher Eccelston as Charles, The Others © Lionsgate

All the servants have deserted the house, without warning, so Grace and her little family are very anxious and alone. When three servants mysteriously appear, Grace somewhat reluctantly accepts their help. Mrs. Mills (Fionnula Flanagan) assures Grace that, though they did not come specifically in answer to Grace’s advertisement, the trio has not only been in service, but that they have preciously worked in this very house.

Fionnula Flanagan as Mrs. Mills, The Others © Lionsgate

Mrs. Mills will be the housekeeper and cook, the mute Lydia (Elaine Cassidy) will clean,

Elaine Cassidy as Lydia, The Others © Lionsgate

and Mr. Tuttle (Eric Sykes) will take care of the grounds.

Fionnula Flanagan as Mrs Mills, Elaine Cassidy as Lydia, Eric Sykes as Mr Tuttle, The Others © Lionsgate

Besides the mysterious arrival of the servants, there are some other strange things going on in this lonely house. The children Anne and Nicholas suffer from Xeroderma pigmentosum, a rare genetic disorder in which the body’s ability to repair damage caused by ultraviolet light is deficient. To protect the children, all the curtains have to be kept closed in any room through which the children might pass.

The Others © Lionsgate

To prevent the children from getting horrific burns caused by accidental exposure to sunlight, the doors to each room must be closed and locked before another door is opened. Mrs Mills is not the only one to think things are… well, odd in the house.

Because of the War, or the children’s “condition,” or both, Grace home-schools Anne and Nicholas, though she sometimes forces her own Catholic beliefs on them when they clearly have formed their own, contrary opinions about God, the afterlife, faith, and Bible stories.

Alakina Mann as Anne, James Bentley as Nicholas, and Nicole Kidman as Grace, The Others © Lionsgate

Besides the “returning” servants, the spooky fog that always surrounds the house, and the children’s “condition” which makes almost total darkness and locked doors a necessity, there’s something else really scary and nerve-jangling going on in the old house.

Nicole Kidman, Alakina Mann, and James Bentley, The Others © Lionsgate

Noises, knocks, bumps in the night, crying, voices, weeping… Grace thinks the children are playing pranks on her. Then she thinks the servants are just being downright unprofessional by making such a racket. But then, slowly, she begins to suspect that there is something even more frightening going on.

Nicole Kidman as Grace, and Christopher Eccelston as Charles, The Others © Lionsgate

More frightening than the behavior of her husband Charles, whom she discovers in the woods around the house, who seems to have returned from the War in body, though not in spirit.

Eric Sykes as Mr Tuttle, The Others © Lionsgate

More frightening than Mr Tuttle’s covering all those graves with dead leaves, which Grace doesn’t even know about yet.

When her daughter Anne begins to insist that she’s heard — and seen — other people in the house — a little boy named Victor, in particular — Grace gets terrified. She’s not afraid that she’s losing her mind, however: she’s more convinced that the house has somehow become haunted, and that, furthermore, the ghosts are determined to hurt her children.

Nicole Kidman as Grace, The Others © Lionsgate

And Grace will do anything to protect her children from harm. Anything at all. Even if it means arming herself to protect her family.

Winner of 8 Goya Awards (Spanish Academy Awards), and the first English-language film to win the Goya for Best Picture without having a single word of Spanish in it, The Others has no special effects whatsoever, but it’s one of the best horror films ever made. Nicole Kidman, who “succeeds in convincing us that she is a normal person in a disturbing situation,” was nominated for a Golden Globe and a BAFTA (British Academy Awards) for Best Actress.

The Others is available for rent ($2.99/3.99 SD/HD) or purchase ($6.99) on Amazon, iTunes, YouTube, GooglePlay, and Vudu.

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When Children Scare You To Death:
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When Children Scare You to Death: Orphan, the Film

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This story has been recycled a few times: parents who are longing for another child and also to do good in the world — no, not Angelina and Brad — adopt an older, unwanted orphan from another country — in this case, Russia — and bring her home to the good life in America. Where everything starts to go wrong. Where only one of the parents notices that the orphan is not everything s/he seems. Where the parent who attempts to warn others that something is not quite right with the new family member is dismissed as neurotic or overly stressed or… whatever… so no one believes the warnings.

Though at first glance the story in the 2009 film Orphan might seem a bit trite, the mesmerizing performance of Isabelle Fuhrman as the orphan Esther overcomes any of the film’s predictable weaknesses. Not unreasonably, however, some adoptive parents and adoption agencies objected to yet another film displaying orphans, especially older ones or children from eastern European countries, as dangerous or seriously flawed. But Orphan puts a totally surprising spin on this orphan-who-goes-bad tale so that it becomes an unexpectedly shocking horror film.

Vera Farmiga as Kate, and Peter Sarsgaard as John, in Orphan © Warner Brothers

Why do parents Kate (Vera Farmiga) and John (Peter Sarsgaard), who already have two children, want yet another child after Kate has a miscarriage? The movie doesn’t make the couple’s longing for more children clear, though it does paint Kate and John with some typical clichés: Kate is a recovering alcoholic who is inexplicably devastated by the miscarriage, John is über-career-oriented and doesn’t seem to notice how unhappy Kate is, so the miscarriage has strained their marriage and they think another child will somehow heal it.

Vera Farmiga as Kate, and Peter Sarsgaard as John, Orphan © Warner Brothers

Their two children already seem like quite a handful for parents to handle:

Jimmy Bennett as Daniel, Orphan © Warner Brothers

Daniel (Jimmy Bennett) tends to do some unpleasant things with homemade weapons,

Aryanna Engineer as Max, Orphan © Warner Brothers

and Max (Aryana Engineer) cannot speak so must communicate with sign language.

CCH Pounder as Sister Abigail, Orphan © Warner Brothers

Rather than wait till Kate is healed, physically and emotionally, from the miscarriage, Kate and John want another child right now. To fix their disintegrating marriage and expand their too-small family, Kate and John visit a local orphanage. There, under the watchful eye of Sister Abigail (CCH Pounder), who warns that Esther is “very mature for her age,” Kate and John become enamored of Esther (Isabelle Furhman), who seems just too-too-good to be true.

Isabelle Fuhrman as Esther, Orphan © Warner Brothers

Because, of course, Esther is too good to be true.

As soon as Kate and John get their new daughter home, there are some problems. Though Max immediately embraces her new sister, Daniel is perturbed by Esther. Whether his is already feeling neglected or he fears two sisters will be too much for any boy in any one household to handle is not clear, but Daniel is less than welcoming.

In any event, Esther immediately shows some signs of being… well, more than “very mature.” She shows signs of being… strange. Like wanting to wear clothes to school that are entirely inappropriate for her age and way inappropriate for grammar school, or wanting to wear makeup that would make the average street-walking prostitute look au naturel. Esther gets really very perturbed when things don’t go her way, relly upset when other children don’t immediately accept her, or really angry and violent when… well, I’m sure you already know all this part of the story.

Isabelle Furhman as Esther, Orphan © Warner Brothers

By the time things start to go really wrong with Esther and Mother Kate gets concerned, no one else wants to listen to her. After all, she’s a recovering alcoholic and a grieving mother and…
And that’s about where the clichés in the film end.

Isabelle Furhman as Esther, Orphan © Warner Brothers

Because once things start to really go wrong, once Esther begins to get really scary, Orphan becomes an unexpected horror film with a unique twist. No matter what you imagine is the reason behind Esther’s unpleasant and increasingly atrocious behavior, I doubt you will figure out the real reason this orphan is very angry and wicked. And I doubt you will figure out what she really wants from her adopted family.

Though the reviews are mixed, Orphan was a prize-winner in several Independent Film Festivals, and Isabelle Fuhrman as the orphan Esther was virtually universally acclaimed. Some critics compared Fuhrman’s performance as Esther to that of Linda Blair in The Exorcist and Patty McCormack in The Bad Seed, both of which are horror classics.

On Cinemax this month, Orphan is also available for rent ($2.99-3.99) on Amazon (free with a 7-day Cinemax trial), YouTube, Vudu, GooglePlay, and iTunes.

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Scary Because It’s Possible: The Bad Seed, the Film

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It’s October, and that means it’s time for scary movies. When I was young, vampires and ghosts and werewolves usually did the trick. As I’ve gotten older, I find movies where the events could actually happen even more frightening than those supernatural beings of my childhood horror films. One of the scariest is 1956’s The Bad Seed,  which was considered so potentially scary to viewing audiences that all the actors appeared to “take a bow” at the end of the film — much as they had in the stage play of the same name on which it was based — to remind everyone that it was fictional.

The Bad Seed may be fictional, but that doesn’t mean it’s not scary. And the most terrifying part of the film is that it could actually happen. To anyone. So don’t let the fact that the actors “take a bow” at the end of the film keep you from watching this horror classic. Psychologically realistic and terrifying in the extreme, The Bad Seed contains not a single paranormal character or hint, but that doesn’t mean it’s not scary.

Nancy Kelly as mother Christine (L) and Patty McCormack as daughter Rhoda (R), The Bad Seed ©

The film stars Nancy Kelly as Christine Penmark, who begins to feel uneasy around her 8-year-old daughter Rhoda (Patty McCormack) after a little boy who’s Rhoda’s school rival dies in an accident. As Christine begins to re-evaluate things about Rhoda’s character that make her uneasy, she is faced with opposition from neighbors and family, all of whom insist Christine herself is imagining things about her angelic little girl.

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Every time Christine manages to convince herself that she’s jumpy and unreasonably suspicious, however, Rhoda does something that’s less than angelic, throwing Christine into doubt all over again.

Nancy Kelly as Christine, The Bad Seed ©

Though the film is a little heavy-handed on the heredity vs. environment discussions, it’s worth watching. The supporting cast is excellent even when their parts are minor, and include Eileen Heckart as the grief-stricken mother of the dead boy,

Eileen Heckart, The Bad Seed ©

Paul Fix as the doting crime-writer Grand-dad who thinks his beloved daughter is just worrying about nothing in particular,

and Henry Jones as LeRoy the suspicious handyman who just knows that something is not right with pretty little Rhoda.

Despite everyone’s assurances that Rhoda is a beautiful, sweet, highly intelligent little girl, Christine has her doubts and suspicions about Rhoda’s true nature and potential for violence. After all, not everyone gets to see Rhoda when she’s upset. Or annoyed. Or even angry.

Patty McCormack as Rhoda, The Bad Seed ©

The film’s content is so scary — and so very possible — that even the original trailer had to “remind” viewers that they were watching an advertisement for a film based on a play based on William March’s novel, just so, you know, people didn’t get too creeped out. Further, The Bad Seed was so unusual for its time that it had a notice at the end of the film, asking viewers not to reveal its ending to others.

The Bad Seed, 1956 ©

McCormack as the young girl Rhoda and Kelly as her mother Christine received Oscar nominations for their performances.  60 years later, the film and its exploration of evil remain pertinent.

 The Bad Seed is available to rent for a couple bucks on Amazon, on YouTube, and on Vudu.

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The Tragedy Doomed to Repeat Itself: The Devil’s Backbone, the Film

What is a ghost?
A tragedy doomed to repeat itself time and time again?
An instant of pain, perhaps.
Something dead which still seems to be alive.
An emotion, suspended in time.
Like a blurred photograph.
Like an insect trapped in amber.

— Narrator, The Devil’s Backbone

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Whether as writer, director, or producer, Guillermo del Toro is known for films which mesh fairy tales and horror, among them Pan’s Labyrinth, The Orphanage, and Julia’s Eyes. Many of his films are classified as  “dark Spanish fantasy” or “gothic horror,”  and his films are, indeed, full of horror. Del Toro has called The Devil’s Backbone (2001) his “most personal film.” Like many of his others, this film features ghosts, orphans, and abandoned children, all tangled together, trying desperately to survive and to figure out what has happened to their previously happy lives. Ghosts and murder, betrayal and tragedy, pain and destiny and loneliness: these are the themes of The Devil’s Backbone, where evil is not so much supernatural as it is a daily human reality. In The Devil’s Backbone, the most terrifying evil is not external but, instead, within the humans themselves.

Marisa Paredes as Carmen, The Devil’s Backbone ©

At an isolated orphanage in 1939, during the Spanish Civil War, Headmistress Carmen (Marisa Paredes), who is an amputee, secretly supports partisans, and has a stash of gold intended to aid their cause.

Federico Luppi as Casares, The Devil’s Backbone ©

The co-director of the orphanage is Dr. Casares (Federico Luppi), who has long been in love with Carmen, and who is helping her hide gold for the Resistance.

Fernando Tielve as Carlos, The Devil’s Backbone ©

A young boy, Carlos (Fernando Tielve), is left at the Home by his tutor, who neglects to tell the boy that his father is dead, killed in the War. Before Carlos even realizes that he will be permanently staying at the orphanage, he sees the ghost of a boy his own age.

The Devil’s Backbone ©

Though the other orphans speak in whispers in the dark of night of “the one who sighs,” the adults do not even discuss the War with the children, though it has affected all the boys’ lives, let alone talk about a ghost or anything else supernatural with them. The orphans make up their own stories about the ghost and why it may be haunting the orphanage. The orphans do not know the ghost’s “secret,” so they make up reasons for its haunting the Home.

The Devil’s Backbone ©

The adults don’t seem to know about the ghost, but all the adults at the Home have secrets, none more so than the violent and angry caretaker Jacinto (Eduardo Noriega). He was once an orphan at the Home himself and has returned only to get at the hidden stash of partisan-gold.

Eduardo Noriega as Jacinto, The Devil’s Backbone ©

Jacinto terrorizes and abuses the orphan boys. He steals keys at night to secretly search for the hidden gold. He ruthlessly manipulates the women at the school by having sexual relations with several of them, pretending to be emotionally attached to each of them, including Headmistress Carmen and young Conchita (Irene Visedo, below L), who is herself in love with Jacinto.

Irene Visedo as Conchita, and Eduardo Noriega as Jacinto, The Devil’s Backbone ©

And this is the place where young Carlos is now trapped, like the ghost that he keeps seeing. Unfortunately for Carlos, Jacinto is not the only person at the Home who bullies the boys. One of the orphans, Jaime (Íñigo Garcés, below L), is just as ferocious and tyrannical as Jacinto.

Íñigo Garcés as Jaime, and Irene Visedo as Conchita, The Devil’s Backbone ©

Jaime, who is in love with the pretty Conchita, takes out his frustrated, unrequited love on the younger boys, especially on the ten-year-old, fellow orphan Carlos.

To deal with his own emotional pain, abandonment, and loss, Carlos decides to overcome his terror of the ghost. He begins to investigate the boy-ghost, hoping to discover the ghost’s secret. How did a mere boy, after all, become a ghost trapped for eternity at the Home? Did the boy die in the War, or did he die in the orphanage itself? If the boy did, in fact, die at the Home — which would explain why the ghost is still there, haunting the other orphans — how did the young boy die? Was he a victim of illness, accident, or murder?

Carlos is desperate to discover the ghost’s secret before he himself is killed — by Jacinto, by Jaime, or by another wayward bomb like the unexploded one in the Home’s courtyard — and becomes a ghost forever trapped in the place Carlos hates most in all the world.

In Spanish with subtitles, The Devil’s Backbone is as much about the perils of war as about ghosts, and as much about man’s cruelty to each other as it is about the things that haunt us, whether they be the pain of abandonment, ghosts that roam the corridors at night, or our own secret pasts.

The Devil’s Backbone is available for about $2.99 for rent from Amazon,  YouTube, and iTunes.

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Not For Children: The Horror Film The Orphanage

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Of all the horror films I have ever watched or blogged about, The Orphanage (2007) — written by Sergio G. Sánchez, directed by  JA Bayona, and produced by Guillermo del Toro (The Devil’s Backbone and Pan’s Labyrinth) — is the only one that I would caution adults not to allow children to watch. As in many of del Toro’s other films, there is a strong connection between fairy tales and horror, but I’m not talking about the sanitized versions of fairy tales that most children are now familiar with. If children, especially those under age 10, watch this film with you, they may be quite distressed. By the time you discover why young children should not watch The Orphanage, it’ll be too late: they’ll probably be seriously upset by this film, if not actually traumatized, so be warned. The Orphanage is R-rated for a reason, and there are no special effects, bad language,  or graphic violence to warrant the rating: the mature rating comes purely in the content of the story itself.

Belén Rueda as Laura, The Orphanage ©

Laura (Belén Rueda) spent many of her formative years in an orphanage, where she loved, and was loved by, the other children. Despite her having grown up without parents, Laura she remembers being happy in that orphanage.

The Orphanage ©

In an attempt to “pay back” society for her secure and relatively happy childhood, she purchases the old home and decides to take in special needs children.

Belén Ruedo as Laura, and Fernando Cayo as Carlos, The Orphanage ©

With Laura are her husband Carlos (Fernando Cayo), who’s an MD, and their son Simón (Roger Princep), who doesn’t know that he’s adopted nor that he’s seriously ill (he’s HIV-positive).

Roger Princep as Simón, The Orphanage ©

Simón already has a couple of imaginary friends, but he makes a few new imaginary friends at the orphanage-now-home. This starts to disturb his parents, who aren’t sure that he’s not just trying to get more attention at a time when their focus is going to be divided among the new resident children, all of whom will have special needs.

Roger Princep as Simón, and Belén Rueda as Laura, The Orphanage ©

On the day of the party to welcome the special needs children who will be living at the orphanage,  Mama Laura sees a strange, hooded figure, and she thinks it is Simón, trying to get attention.

The Orphanage ©

When the strange figure then attacks her, Laura is frightened, not only for herself but for Simón, who goes missing on the same day.

The Orphanage ©

And Laura’s life deteriorates from there.

Belén Rueda as Laura, The Orphanage ©

Laura becomes a sort of detective, trying to discover what might have happened to her son. She also invites a psychic (Geraldine Chaplin) to visit the orphanage in an attempt to locate the missing Simón.

Geraldine Chaplin, The Orphanage ©

Though her husband and other grieving parents who have lost children attempt to convince Laura that Simón is dead, rather than merely missing, she refuses to give up hope. She travels all around the area looking for her son. When husband Carlos suggests they leave the scene of their tragic loss, Laura insists they remain at the orphanage, if only because it was the last place anyone saw her son.

The Orphanage ©

Laura then decides that the mysterious hooded figure she saw on the day Simón disappeared must have been a ghost. She is determined to make contact with any ghosts who might be at the orphanage, to ask them for help locating her son.

The Orphanage ©

Some reviewers of the film complained that the ghosts were a minor part of the story, and I have to admit that they are, but I found that a strength of the film rather than a weakness. The Orphanage is about loss and grieving, about guilt and hope. It’s about parents and children, husbands and wives. It’s about how tragedy can forever change everything in our lives, and how some people simply cannot live with the devastating pain of irreparable loss.

It is not a film for young children: you will just have to trust me on this.

In Spanish with English subtitles, The Orphanage is an intense and excruciating psychological drama, masking itself as a ghost story. Yes, there are some ghosts, but that is not why this is a powerful and memorable film.

Winner of 14 Goya Awards (Spanish Academy Awards) and winner of 8, including Best Picture and Best Original Screenplay, The Orphanage is available for rent for $2.99 from Amazon, from iTunes, and from Vudu.

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Shutter Island, the Film, Is Shuddery Good

Scary Because It’s Possible:
The Bad Seed, the Film

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The Plague That Cast the World Into Darkness:
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