The Haunting (1963)

I had seen the remake first, The Haunting (1999), back in 2000 and did not like it. This, the original, was a disappointment too. I found the remake boring, and the original, despite some solid acting (and pleasant in-camera and overlay effects), was more silly than frightening. Julie Harris as Eleanor Lance and Richard Johnson as Dr. John Markway are good here, but their actions don't lead to anything profound. There are no scares that make the film memorable; it's just blah. The 4K restoration I watched looks and sounds great, and for horror fans, it's semi-worth watching if one has the time, mostly for Julie Harris, who is the poster child for guilt in this film. The remake, starring an all-star cast, stalls after a strong start and becomes bogged down with silly special effects, noise and a boring resolution. However, some parts are nice to look at. In comparison, I would watch the remakes of House on Haunted Hill (1999) or 13 Ghosts (2001) from the same time period. They have a fun visual energy that both Hauntings lack.

Strange Behavior (1981)

Also known as Dead Kids, this 1981 film is one of my favorite off-beat movies. It was filmed in New Zealand, but it’s set in a small Midwestern town. While it has some slasher movie elements, it's not overly graphic. Instead, the film focuses more on character motivations, atmosphere, and light humor. In the town of Galesburg, Illinois, teenagers are mysteriously being murdered, possibly by a serial killer. There’s tension between the teens and authority figures, and, as in many small towns, everyone seems to be connected by community relationships and events. The plot thickens when a big-city detective arrives to investigate the murders, and it becomes clear that these killings might be part of a larger conspiracy. One of the film's most memorable moments is an unexpected dance sequence set to Lou Christie's song Lightnin' Strikes. This scene stands out as a high point in the movie and sets the stage for a brutal ending. When I describe this movie as quirky, I mean dark quirky, not the light, whimsical kind. There’s nothing light about a scene with a hypodermic needle in the eye. So, if you're sensitive to that kind of visual, this movie might not be for you. As for what exactly happens and why, I’ll leave that for you to discover. The cast includes Fiona Lewis as Gwen, Charles Lane as Donovan, Scott Brady as the big-city cop Shea, with standout performances by Louise Fletcher as Barbara, Michael Murphy as local officer John, and Dan Shor as John's son Pete.

The Exorcist (1973)

This is what I consider a 'foundation film.' A foundation film is an original movie for its time, which is later remade or influences other films for decades- sometimes even for 20 years or more. A good example would be the Universal Monsters films, which have influenced movies for almost 100 years. The recent 2023 remake of The Exorcist: Believer (though not well received) proves again that it is a foundation film. For those who haven’t seen The Exorcist (shame on you), the story is about a young girl named Regan (played by Linda Blair) living in Georgetown, Washington DC, who becomes possessed by the devil. The film follows the emotional journey of her mother (Ellen Burstyn) and two priests (Jason Miller & Max von Sydow) as they try to exorcise the demon. Faith plays a big role in the story: one priest struggles with doubt, another follows his faith without question, and other characters either lack belief or question what they think is real. Director William Friedkin does a masterful job of scaring the audience while delivering these deeper messages, also making this one of his best films. Several sequels, reboots have been made but only this film, the Exorcist III and the incomplete 2016 Fox TV series are worthy of viewing.

The Rocky Horror Picture Show (1975)

The Rocky Horror Picture Show has been a staple of my life since the early 1990s, and its 50th anniversary has arrived! Brad (Barry Bostwick) and Janet (Susan Sarandon), looking to take their relationship to the next level, get stranded with a flat tire during a storm. As they search for help, they spot a nearby castle owned by Dr. Frank-N-Furter (Tim Curry), an eccentric scientist. Inside, they meet his servants, Riff Raff (Richard O'Brien), Magenta (Patricia Quinn), and Columbia (Nell Campbell). Dr. Frank-N-Furter then introduces them to his latest creation, "Rocky," revealing that he was brought to life using various body parts and the genetic material of another. The innocence of Brad and Janet's lives comes to an end as they all sing and dance, urging everyone not to "dream it" but to "be it!" Though it flopped during its initial release, time has been kind to the film, allowing it to gain a massive cult following through midnight screenings, audience participation, and multiple home video releases. If one has an open mind toward sci-fi and horror and enjoys a soundtrack steeped in rockabilly and 1970s glam rock, this will be a treat.

Ringu / The Ring (1998)

Director Hideo Nakata created an excellent and complex film with a heavy sense of dread. This caught the attention of hollywood and the world and sparked the J-horror trend, leading to nearly 20 years of meh to bad American remakes, including English versions of "The Grudge," "One Missed Call," and, of course, "The Ring" series. In a memorable opening scene, two high school girls talk about urban legends, introducing the myth of a cursed videotape. The tape supposedly brings death a week later to anyone who watches it. After one of the girls admits she watched the tape, she receives the "ring" of a phone call and dies soon afterwards, triggering a chain of events that carries the plot. I loved the film’s atmosphere, visuals, and the understated style of storytelling. This makes me dislike the bombastic American remakes, which take away from the original's mystery. "Ringu" is a classic, and watching it on VHS for the first time (it was a rental, DVD for repeated viewings) was deeply unsettling for me. A Japanese crossover with The Grudge named Sadako vs. Kayako was made in 2016 and it is bonkers, cuckoo crazy.

Joker: Folie à Deux (2024)

Joker: Folie à Deux is neither terrible nor amazing. It’s more a film about "A" Joker rather than The Joker, focusing on Arthur Fleck and his mental struggles. I’m not sure what people were expecting here. Batman wouldn’t be involved unless Fleck was going to face a young, adolescent Bruce Wayne. The first film was a character study, not an action-packed superhero movie, and this sequel continues in that vein. It’s a reflection on murder, life in prison, and a court case that will determine Fleck's future, all while offering a glimpse into his unstable mental state. Fleck is a suffering, sad, lonely man trying to gain respect through violence then feeling the shame of losing control. The ending was surprising but fit with the story's direction, which mostly works. The songs, unfortunately, weren’t great. It felt like a missed opportunity not to let Lady Gaga fully showcase her voice. While the music emphasized certain plot points, it often felt intrusive and depressing. Instead, the songs should’ve been more theatrical, playing as a contrast to the film’s darker themes. I can understand people not liking it, but some of the extreme reactions seem overblown. While I wasn’t a huge fan of the first film, these two movies do work together as a complete story.

Starry Eyes (2014)

Sarah Walker, a hardworking young actress, gets a chance at the big time. Although she has mostly supportive friends, she doesn’t fully grasp the consequences of her choices- until it’s too late. This was Alex Essoe's first major starring role, and she captures the right range of emotions, making the film a great showcase for her talent. It shares some themes with the Substance (2024), though without the shared experience aspect, as both films touch on the double standards actresses face. The question posed is: Are these standards innate, or are they created through the casting process? Or is it who you know? There's a 10-minute scene with Sarah and her friends that, for me, weakens the film. However, the story recovers by the end with a darkly humorous (dare I say, cool?) final shot of Sarah. Without giving too much away, I felt that the "friends" scene could have been handled differently. While it’s shocking (and for a purpose), it also portrays Sarah as the villain of her own story when the audience should be rooting for her to overcome the predicament she’s in, not turning against her. Despite this, Essoe’s performance and the overall plot will keep viewers engaged until the very end. She has been consistently working in genre films, but I would like to see her take on a variety of different roles.

Hotel Transylvania (2012)

People were ready to hate this animated film, but it turned out to be a hit. Despite featuring many of the core actors from Grown Ups, this movie is well-directed and has slightly better writing. It offers a fun, though sometimes predictable, update on the Universal Monsters. Count Dracula (voiced by Adam Sandler) tries hard to protect his daughter, Mavis (Selena Gomez – Miley Cyrus was originally cast), from gaining independence and from boys as she approaches her 118th birthday. Things get complicated when Johnny (Andy Samberg) gets involved with Dracula and his monster friends. While it may not sound promising, director Genndy Tartakovsky keeps the plot inventive and jokes moving at a fast pace, making the film enjoyable.

Phenomena (1985)

Dario Argento's next best project after Suspiria (1977), Phenomena is an interesting mix of sci-fi, mystery, slasher-horror, and typical Argento eccentricities. The film starts strong but ends with an off-the-rails conclusion. It stars a young Jennifer Connelly and veteran Donald Donald Pleasence in a role that feels like it belongs in a completely different movie, giving the impression of a sequel to a series from an alternate dimension. The plot centers on a young girl attending a Swiss boarding school who has the ability to communicate with insects. She uses this power to solve several crimes, but because this is an Argento film, the story takes many bizarre turns before reaching its conclusion. While it may not be everyone's cup of tea, it works and features a laugh-out-loud moment (at least for me) towards the end. AVOID the shorter version titled Creepers, which I had the displeasure of seeing when I was a teenager. I remember it being a loud mess. The full cut of Phenomena restores much of the story, closer to Argento's original vision.

Thanksgiving (2023)

This mostly works as both a slasher and a comedic commentary on "black Friday" in general. There is plenty of sly humor in the kills, but it’s played straight, with only small bits of camp. The story flows smoothly from A to Z, and while there is a complete narrative, I didn’t fully buy into the reveal of the villain. It felt like a minor twist or a standout kill was missing somewhere in the plot. The acting is consistently good, the film looks great, and it only briefly ventures into mean-spirited territory without being overtly offensive, unlike Terrifier 3, which I disliked despite its technical improvements over it's earlier entries. A sequel has been written, and we may see a Thanksgiving 2 by the fall of 2027 or 2028.

Repulsion (1965)

Repulsion is in black and white, and for those uninterested in the history of film, this does not make it pretentious. Many popular color films and franchises, such as the Harry Potter film series (referring to the visual style of the films, not the books), borrow their look from German Expressionism, modernist styling, and a touch of film noir. Some of those stylistic touches are on display here as well. On my way to film school, I also learned to separate the art from the artist. Roman Polanski is a gifted filmmaker, though he may be a deeply troubled man. However, I am here to critique the movie, not the man. This is not an excuse for his actions, but you can read about him elsewhere. In the film, Carole, played by Catherine Deneuve, suffers from a mental breakdown while isolated in the apartment she shares with her sister, who is away on holiday. The signs of Carole’s breakdown are apparent, but they are also interwoven with nightmarish interactions with men who may have only one thing on their minds when it comes to the beautiful Carole. The horror in the film stems from the sense of dread and the initial ambiguity of whether these events are merely happening in Carole’s mind or are real. If the viewer plays along, it becomes a haunting experience. However, for those who don’t, much of the film may come across as silly by the end. I found myself in the middle; much of it worked, but at the same time, Carole becomes so unlikeable that it was difficult to appreciate the closure of her story.