Tag Archives: Steven Spielberg

THE LAST KNOCK presents: Remembering Tobe Hooper

THE LAST KNOCK artwork from Palko Designs

We salute independent horror director and writer, Tobe Hooper

Sad times as we say goodbye to independent filmmaker Tobe Hooper who left his mark by creating a new form of horror storytelling with The Texas Chainsaw Massacre.

But he’s far from a one-hit movie wonder. The Texas born director went on to helm Eaten Alive, the successful Salem’s Lot mini-series, Lifeforce, Mortuary, Toolbox Murders, and many more projects for the big and small screens.

We’ll look at Tobe Hooper‘s life, why he’s right up there with George A. Romero and Wes Craven, how he changed the horror landscape – and we put the ludicrous Poltergeist directing controversy to rest.

If you’re a fan of the genre…

Hooper’s work serves as the foundation for slasher films in the 1980s, and contributed to the “hand held” aesthetic that keeps many horror fans on edge.

Listen in as Billy and Jonny explore their favorites from the horror master, and remember to leave your comments at Crash Palace about your favorite Hooper films!

Tobe Hooper image from Mirror

Crash Palace and THE LAST KNOCK extends its condolences and best wishes to Mr. Hooper’s family and friends.

Love space vampires? Then check out Billy Crash’s piece about Lifeforce!

(THE LAST KNOCK art from Palko Designs. Tobe Hooper image from Mirror.)

The 2000s: Horror’s Best Decade (Part 3: The Final Chapter) by Paul J. Williams

Please allow me one last time to preface this article with a warning and a statement: Beware! Dozens of movies are discussed and spoilers may exist, so please keep that in mind as you read.

And, I’m not a movie historian or expert; I’m just a cinephile, probably like you, who enjoys horror movies. I also like to reflect upon times and situations in our history and ask: Why? I would love to hear your thoughts on the topic as well.

NOTABLE DIRECTORS

As we entered the 2000s, one filmmaker seemed to lead the charge for a resurgence in the horror genre: M. Night Shyamalan. Coming off the monumental success of 1999’s The Sixth Sense, he dipped slightly with 2000’s Unbreakable, before reconnecting with audiences with 2002’s Signs, which unfortunately has not stood the test of time in terms of its plot or an ending that makes sense. After that, poor Night descended that proverbial slippery slide with one miscalculation after another. However, I’m happy to report that the past few years have been a rebound for Mr. Shyamalan with the success of The Visit in 2015 and Split in 2017. While Night might have slumped in the 2000s, several other filmmakers rose to prominence in the horror genre, aside from the aforementioned Eli Roth, Neil Marshall, et. al.

TI WEST started with a couple of independent features before directing the sequel to Cabin Fever, which he now disowns. Afterwards, though, he started the run he has become known for with The House of the Devil, The Innkeepers, The Sacrament, and segments on V/H/S and The ABCs of Death. His latest feature-length film was the 2016 non-horror, but critically acclaimed, In the Valley of Violence.

LUCKY McKEE brought us the now cult-classic May in 2002. Several years later, he returned with The Woods in 2006, followed by The Woman in 2011. His latest movie, Misfortune, is scheduled for release in 2017.

IT’S THE END OF THE WORLD AS WE KNOW IT: Post-Apocalypse

Another oldie but goodie subgenre that resurged in the 2000s was post-apocalyptic movies, with many in the zombie subgenre as well. Here are a few survivors, though admittedly, some are more drama than horror:

REIGN OF FIRE, starring the not-as-yet-popular Christian Bale and the always great Matthew McConaughey, in a 2002 UK movie where dragons emerge and destroy half the planet.

TIME OF THE WOLF is a 2003 Michael Haneke post-apocalyptic drama that nobody saw during its initial run, but has become appreciated years later.

WAR OF THE WORLDS is Steven Spielberg’s 2005 loosely-based adaptation of H.G. Wells’ 1897 novel about an alien invasion. Tom Cruise plays a longshoremen from Newark, NJ (remember, this is science-fiction) who must flee with his kids as the war-machines destroy everything in their path. With awesome set-pieces and special effects, the movie went on to receive positive reviews and hundreds of millions of dollars.

CHILDREN OF MEN is a 2006 UK movie set in a near-future where women, inexplicably, can no longer become pregnant. Alfonso Cuarón directs Clive Owen to a great performance as the man who may be able to help mankind. Surprisingly not a hit at the box-office, the movie earned critical acclaim and always pops up on “Best of” lists.

THE ROAD is the 2009 adaptation of Cormac McCarthy’s novel about a father and son trekking along a post-apocalyptic landscape in search of that elusive safe-ground.

DAYBREAKERS is a 2009 vampire tale starring Ethan Hawke, who must love acting in these genre movies. Ultimately a fun ride, the film made double its budget.

STAKE LAND, from 2010, also sets us in a post-apocalyptic world overrun with vampires. A touching story executed on a low budget with some great scenes and a moving soundtrack.

“THE ORIGINAL WAS BETTER”…Yeah, No Shit…

Remakes, reboots, reimagining, whatever you call them, they were everywhere in the 2000s and the horror genre was the biggest victim. This was really the only low point, in my opinion, for the genre this decade.

Look, I like to think I’m not naïve or a prude; I get it, I really do. Hollywood is a business, and businesses’ goals are to earn profits. I’m an American trying to turn a buck as much as the next guy, so maybe if I were in these producers’ shoes I’d do the same, but they all reek of capitalism. There appears to be no artistic or creative goal to them at all… Okay, maybe I am a little naïve after all…

Anyway, let’s take a look at some of these:

THE FIRST: Announced in 2001 and realized in 2003, the first remake of an original horror classic in the 2000s was The Texas Chainsaw Massacre. Besides Jessica Biel running around in a skimpy white tank-top, the movie offers or adds nothing to the iconic 1974 original.

THE MOST CONTROVERSIAL: Touched upon in Part 2, after the relative successes of Rob Zombie’s early/mid 2000s horror-films, producers who owned the rights to John Carpenter’s 1978 classic, Halloween, tasked Zombie with remaking it in 2006. He would go on to write, produce, and direct it entirely in his own broad, bloody vision, abandoning what made the original so special. It didn’t stop Millennials and scores of others from rushing the theaters, and the movie went on to huge box-office grosses, which spawned the 2009 sequel. A feud of some sort, that might be total nonsense, between Carpenter and Zombie has emerged over the years, but the two seem to have made amends recently.

THE WORST: Hands down, unequivocally, without any doubt, 2006’s unintentional spoof-remake of the 1973 UK classic, The Wicker Man, takes the prize. Nicholas Cage leads the way in this turd, playing the detective searching for a missing girl on a remote island. An unmitigated disaster all the way around… “Not the bees!”…

THE VICTIMS: All of these tried and essentially failed at remaking their original classics: Willard (2003), The Amityville Horror (2005), The Fog (2005), House of Wax (2005), The Omen (2006), When A Stranger Calls (2006), Black Christmas (2006), The Invasion (2007), April Fool’s Day (2008), My Bloody Valentine (2009), Friday the 13th (2009), The Last House On the Left (2009), The Stepfather (2009), The Wolfman (2010), I Spit On Your Grave (2010), and last but not least, A Nightmare On Elm Street (2010). That list is way too long.

THE EXCEPTION: Let Me In is the 2010 American remake of the 2008 Swedish vampire drama, Let the Right One In. Perhaps why this was one of the very few remake successes in the 2000s is the ingredients of talented professionals that collaborated to make it: Written and directed by Matt Reeves and starring Kodi Smit-McPhee, Chloë Grace Moretz, and the always great, Richard Jenkins, the movie received critical acclaim, though wasn’t the biggest hit at the box-office.

HONORABLE MENTIONS

Before we finish, I’d like to mention other movies of note that prove this was one of the best decades for horror:

THE EXORCISM OF EMILY ROSE, a 2005 “young girl possessed” movie adds the unique aspect of also being a legal drama. That, along with great performances from both veteran and novice actors, separates this from other ubiquitous demonic possession stories.

HARD CANDY, a two-hander directed in 2005 by David Slade, stars Patrick Wilson and Ellen Page, a year before she would explode as Juno, in this disturbing revenge tale set in the modern, technological era.

BUG, a 2006 psychological horror from William Friedkin, who directs a sparse cast, made double its budget, and was well-received, despite many disappointed with its conclusion.

TRICK ‘R TREAT, technically a 2007 film, is a horror anthology directed by Michael Dougherty, set on Halloween, that was released straight-to-DVD in 2009. Of course, with hindsight being 20/20, not releasing this was a detrimental decision by Warner Brothers, as the movie was eventually received with critical acclaim and has gone on to develop a big cult following. It undoubtedly would have earned a significant profit at the box office.

THE MIST is a 2007 adaptation of Stephen King’s 1980 novella by director Frank Darabont, who seems to be one of the only filmmakers to successfully transfer King’s stories to movies. The film is faithful to the pages up until the ending, I’m sure most of you know by now, which is very different from the novella that had an ambiguous, yet hopeful finish. It’s a real kick in the balls.

THE ORPHANGE, in 2007, is a scary ghost story (with kids!) from Spain.

EDEN LAKE, a highly disturbing 2008 UK film, starring Kelly Reilly, a then little-known Michael Fassbender, and an unknown Jack O’Connell. A young couple are attempting to enjoy their vacation, but a gang of local hoods have other plans for them. Some scenes are hard to watch, for sure.

TRIANGLE, a UK release in 2009, is a mind-fuck of a movie that, despite Melissa George running around in short-shorts and heels, is a very cleverly structured film.

ANTICHRIST, a 2009 experimental horror from the mind of the infamous Lars von Trier, stars Willem Dafoe and Charlotte Gainsbourg as a grieving couple whose infant son dies in the prologue. No hyperbole: It’s some of the craziest shit you’ll ever see on screen.

GRACE, from 2009, stars Jordan Ladd as a grieving and pregnant widow, who may also lose her baby. Directed by Paul Solet, it premiered at the Sundance Film Festival.

DRAG ME TO HELL is the 2009 supernatural movie written and directed by the accomplished, Sam Raimi.

BLACK SWAN, though not 100% horror, is Darren Aronofsky’s 2010 companion-piece with 2008’s The Wrestler, about a performer’s obsession with their craft, ultimately leading to their demise. Natalie Portman’s performance would go on to earn her an Oscar for Best Actress. Creepy scenes, mild “gore,” and foreboding atmosphere allows me to list this as a horror.

MONSTERS is the 2010 feature-film debut of Gareth Edwards, who would go on direct Godzilla in 2014 and Rogue One: A Star Wars Story in 2016. It’s not surprising that Edwards would be selected to helm these big budget movies, considering what he does with the visuals and effects in Monsters with only $500,000. The movie puts a great twist on the alien “invasion” subgenre and explores themes way more relevant today than in 2010. Dialogue was adlibbed a la Before Sunrise, however, the actors in that film were much more up to the challenge than the cast in Monsters.

Last, I’m embarrassed to admit I omitted in Part 1, the South Korean movie, A Tale of Two Sisters, from 2003. Unseen by me until some years later, the film is loosely based on an old Korean fairytale and has since been adapted several times.

2010: THE BUBBLE BURSTS

With a decade like the 2000s filling up with so many notable horror movies, the inevitable bubble would burst, which it did, right on cue in 2010 with two films: Human Centipede and A Serbian Film.

One rare thing these two movies have in common is that in this modern, digital, social-media age, each film had an old-fashioned word-of-mouth aspect to them. This was more so with Human Centipede, which I think more US viewers have seen or at least heard of. 2009’s Paranormal Activity was the last horror movie I remember having more of that pre-internet dialogue amongst folks.

HUMAN CENTIPEDE Technically, it’s The Human Centipede (First Sequence) and was written, produced, and directed by Dutch filmmaker, Tom Six (Oh, the Dutch!). Just from the movie poster, you know you’re in for it. The film starts out torture-porn-esque, with three tourists kidnapped in Germany by a deranged scientist, but devolves much lower than other movies of this ilk. If you haven’t watched it, I’ll just come out and say it: The victims are surgically attached to each other, mouth to anus, hence becoming his human centipede. Themes and inspirations in the film are evident and, of course, this received what you could call “mixed” reviews at best, but it has spawned two sequels which, admittedly, I’ve passed on.

Before we move on, I want to formally recognize three professionals. I’ve been on movie sets and have asked actors to reach down into some deep emotional and physical territory to accomplish a scene, but what is asked of the three actors in Human Centipede goes above and beyond. Here’s to Ashley C. Williams, Ashlynn Yennie, and Akihiro Kitamura for what they endured in this movie. It wasn’t for nothing.

A SERBIAN FILM Co-written, produced, and directed by Srđan Spasojević, A Serbian Film is an obvious indictment of the filmmaker’s country, Serbia, and its government. Also classified in the subgenre of “just when you thought you saw it all,” A Serbian Film tells the story of poor Milos, a financially strapped, retired porn actor called back to duty by the craziest fucker ever to live. Just how crazy? I’ll give you a hint: “Newborn porn” becomes a porn subcategory.

Somewhat surprisingly, the movie is photographed very nicely, and has way more of a professional look for a movie of this nature. A Serbian Film would ultimately become one of those movies defending itself against censorship in many countries, creating various edits. No matter which cut you’ve seen, or will see, the movie is like no other.

POST-MORTEM

So here comes the arbitrary part where I try to figure this all out. Why, in my assertion, was the 2000s a great decade for horror?

It could be because we became a global society and gained access to movies from around the world that we may have missed twenty years earlier. You’ll notice many, many of the films discussed did not originate in the United States.

It could be because cameras and equipment became much more affordable, opening up filmmaking to those who are truly independent and outside the Hollywood studio system. Everything went digital, as well. DSLR cameras shot HD and became an accepted norm. Expensive film-stock was no longer necessary. Editing software could be downloaded on a laptop. Creative, talented filmmakers were no longer on the outside looking in.

It could be because so many events of the 2000s were so painful, filmmakers thought they had to raise the bar in the movies they showed us. They didn’t want us to pause our movie to turn on CNN and watch something in the world more horrific.

It could be that filmmakers thought they could only explore themes with certain subgenres of horror. The zombie and post-apocalyptic movies jump to mind.

It could be just the ebb and flow of life. The 1980s were an important, prolific decade for the horror genre, which was then followed by a horror dearth in the 1990s.

But, enough of me blabbing. What do you think?

Before I go, I’d like to thank Billy Crash, proprietor of Crash Palace Productions and close friend, for hosting this series on 2000s Horror. I had a blast.

Until we meet again, everyone…

(Photo of Stake Land from Confessions of a Film Junkie.)

Crash Palace Support Team

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Paul J. Williams is an award-winning screenwriter and filmmaker, and his short films have appeared in numerous festivals. Although Paul’s the man behind Rolling Dark Productions, he’s also a detective in Morris County, New Jersey. Paul’s a Medal of Honor recipient from the City of Newark for actions on December 14, 2002

Highways of Horror – Day VI – The Last Drive

You can’t beat me on the grade. You can’t beat me on the grade!

David Mann – Duel

As the old saying goes: “The last mile is the hardest mile.” In my case, it was the slowest mile and I had to put my car in full throttle…

The morning hadn’t started out well: -10 degrees (-23 Celsius), windy, snowy, and a thick gray sky ready to plop down onto Butte, Montana like the Blob on Phoenixville and a young Steve McQueen. But mere minutes out of the city, the clouds parted, the sun shined, and the roads were clear enough for 90 mph driving.

I loved the latter because this was a ten-hour haul to Seattle. Ally figured I wouldn’t mind driving 120-minutes more to get to her, the pups, and our new homestead, and I couldn’t argue that. I felt pretty damn solid and the Malibu moved like a rock star.

Google Maps welcomed me to the panhandle of northern Idaho, as I remained on my old friend, 90 West, who never seemed to steer me wrong. In short order, I took the curves and overcame the black ice of the road as the Chevy meandered through the Bitterroot Range of the Rocky Mountains. Pines sprinkled with white snow stood firm against the rock faces and made for a series of picture postcards, but I couldn’t pull over to take a shot.

I had already passed far too many overly cautious drivers and trucks that rolled like tortoises in slow motion because more ice patches could lay in wait in the shadows of the peaks as the sun dipped lower and lower on the horizon. With the temperature still in a frozen state, and with such narrow shoulder room, pulling over to take a picture would have been a dumb and possibly deadly tourist move.

At the end of the mountain pass is the lovely town of Couer d’Alene and its picturesque lake, and though I wanted to stop there, I felt it best to move further on into Moscow for better refueling options. Here, I took a small break and stretched my legs, but failed to see any Putin fans having a parade or posters of Lenin and Stalin. But I did have the opportunity to use a squeegee and wipe salt from the windshields, windows, headlights, and taillights. That cleanliness ended in such record time that it crushed the speed in which the singularity expanded in the Big Bang that created our Universe.

I pressed on into the dark, with a sliver of a crescent moon sending down enough light to radiate the rolling, snow and ice-coated landscape outside of Spokane as a grand blue mass. The small hills seemed curled up against the cold and let the wind run roughshod over them. Cars and trucks shifted side to side with the gusts right as we entered the Snoqualmie Pass.

This is where my New Jersey driving attitude kicked in. There may have been frozen patches, compressed snow, and seemingly single lanes in lieu of two thanks to bad plowing, but I pressed on at recommended speeds, while others moved as if on square wheels. In fact, signs requested all slow moving vehicles to get in the right lane, yet a string of cars climbing a hill were doing 40 mph in the left. I had to engage the risk of passing on the right because a truck got the message and abandoned the center lane for a relaxing roll up the hill. I pulled into the center and hurled by that string of six cars and kept on flying.

In Richard Matheson’s renowned television horror/thriller, Duel, directed by a young Steven Spielberg before he sent a shark after innocent swimmers, David Mann (Dennis Weaver) didn’t seem to have that many options as a crazed trucker (Dale Van Sickle) remained hellbent on driving him off the damn road. This took place in 1971, long before cell phones and such, so David was on his own. However, when he tried to get help, the man failed miserably. And once, overtaken by fear and paranoia, he even attacked the wrong person at a diner. This isn’t a “fish out of water story” or a “stranger on a strange stretch of road” tale, it’s a bit more existential than that. David’s dueling with himself: overcoming fear to find courage, overcoming anger to embrace logic, and overcoming the fear of death to fight for life. In this sense, he has to cope with the “dual” nature of the human experience.

There are two sides to each of us. We may present ourselves to the public in one way, as opposed to maybe a more relaxed or more honest self to those in our private lives. We also have fears, weaknesses, phobias, and illnesses though we may not have yet been put in a position to overcome them. David has though. He’s been thrust into a war and David can either stand down and die, or stand up with more confidence than he ever imagined he could muster. Even if he doesn’t make it, he’ll know he did his damnedest in the face of adversity.

Here, David’s propelled into becoming “the hero who didn’t want to be.” He has to recollect himself in order to focus to live another mile. Because the world is completely different for him now, and the rules that brought him safety and comfort no longer hold any weight.

When I finally entered the city of Seattle, I was met with overly conscientious drivers, and my duel became finding patience as the female voice on my GPS said, “I don’t have a fucking clue” when it comes to the most convoluted traffic patterns I have ever endured. Collectively, the drivers and their tentative nature and inability to take advantage of opportunities left me frustrated and begging for openings. Hell, when the light turns yellow, everyone stops and some intersections don’t even have stop signs. For the most part, Seattle drivers all seem to have earned their licenses the day before, which is a far cry from the assertive driving I’ve grown accustomed to from New Jersey Formula One racing. Welcome, “stranger in a strange land.”

As I drove on, I realized Seattle is far more gigantic than I ever realized, spreading wide amidst the Cascades. The Space Needle does stand out, but only as if a metallic wildflower nearly drowned out by a city of strong redwoods reaching ever higher towards the Big Dipper and Belt of Orion. Cranes pepper the cityscape, and they’re decorated in different colors to blend in with the lightshow emanating from apartment buildings and skyscrapers, where modern architecture complements the natural ebb and flow of Mother Nature.

This reminded me of Lisbon, Portugal when cranes marked the skyline and pierced the sunset like darts. Lisbon was healthy then, and Seattle is healthy now, growing in the tech and information sectors, offering new career opportunities for those who wish to relocate to someplace cool and begin anew – Hey, that’s Ally and me!

But the Emerald City is so much more, as all cities are, with a great mix of cultures, peoples, and languages, and endless venues. The art and film community is strong here, as well as the love for green and healthy living. Litter has proven to be a rarity, and people are not only concerned about the city, but they love it. In this sense, it reminds me of Montreal (without the European flair) and Vancouver, where the streets are clean and people take pride in where they live. Ally and I look forward to exploring all of Seattle and helping others care for it as if we’ve lived here a lifetime.

The house Ally chose is a perfect rental. Large and roomy, it’s a cool craftsman. The owners seemed to have chosen three different interior design avenues to explore, and “made it up” as they went along, which only adds to its charm. We also have a small backyard for our pups, Suki and Karma to run free. We’re located in the Roosevelt section, where suburbia meets city in a Brooklyn sort of way, and we like that. We’re close to transportation and can easily head downtown or to other section where the city thins out, rolls out, and expands as if at the ends of a lava flow. Better still, we’re right next to Patricia and John Eddy, two friends we hold dear who continue to mentor us in all that Seattle has to offer, and have helped us in ways neither one of us expected. Thanks to both of them, Ally wasn’t alone, and they both continue to send me wonderful job leads – though I doubt I’ll become an exterior washer of the Space Needle – ever.

In Duel, David Mann wasn’t simply a name Matheson chose at random. He was every “mann” caught in a battle he didn’t know was coming that turned his worldview upside down. However, when it came to his little car rolling tough against that 18-wheeler, he was definitely “David” facing his “Goliath.”

All David wanted to do in Duel was get to point B and meet someone. But whether on the road, on the street, or in our minds, we all have unexpected battles to confront and navigate, to come to terms with our own duality and put our own internal duel to rest. The point is to hang in there, dig deep, stand tall, travel safe, and overcome.

Ally and I don’t know what awaits us in Seattle, but I do know my family has had the most wonderful and amazing times in odd years. 2016 was a horror show for many reasons, but Ally and I have much to see, learn, and gain with our new and exciting venture.

I hope the road rises to meet you wherever you roam, and that your highway to success is never blocked. Yes, there may be a detour or two, as well as some bumps and a wrong turn, or maybe even a crash, but as David Mann learned, you’ll get there if you accept reality, keep your mind sharp, and put the pedal to the metal.

Ride on…

(Photo of Roosevelt Way near University of Washington taken by Billy Crash on his iPhone 5.)