Together Again

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Body horror can be gruesome, but also thought-provoking.  Together shares a similar them to The Substance, namely, bodies merging.  They differ in the details, and some spoilers may follow.  Before I get there, however, I’ll say that this is yet another example of horror and religion working, one might say, growing, together.  The basic premise is that a pool of water in the woods, located at the bottom of a cave, causes two people (or animals) who drink it, to physically merge.  Tim is an emotionally immature, and troubled man and Millie, his girlfriend, refuses to give up on him.  They buy a house together outside the city, but their relationship continues to struggle.  Out on a hike, they fall into the cave and drink the water.  Soon Tim, who has refrained from intimacy with Millie for a long time, can’t be away from her.

As the movie unfolds, they try to resolve their differences, but if they try separating, they are physically forced together.  Religion comes into this in that a New Age church, which collapsed into the cave, had formerly accepted this new form of marriage.  Those who have gone through with it experience a level of belonging and intimacy that is otherwise unattainable.  One of Millie’s coworkers was a member of that church and encourages her to go through with the union.  Meanwhile, Tim discovers the horrific fate of those who resist.  Despite all these positive reassurances, the two resist it until Tim tries to stop a deep wound of Millie’s from bleeding.  Stuck together once again, they decide to go through with it.

Interestingly enough, the rationale given for the New Age church in the movie is a story taken from Plato’s Symposium.  People, the claim is made, once had doubled bodies.  When these were forced apart, they thereafter cannot be at peace until they find their other body to merge with.  The fictional church even has a painting representing this.  Anyone who’s been in love knows the feeling.  Together exploits the fear associated with it—the loss of self to become someone new.  Literally.  In that way it can almost be a parable of parenting a child, although one of the couples that merges in the movie is a gay couple.  And he, it can be argued, is the most content person in the film.  Movies like Together and The Substance tend to find praise among the critics because they concern issues of embodiment and what it implies.  That in itself is thought provoking.

Actual Intelligence

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Horror movies love a good sequel.  A self-referential genre, there’s a lot of give and take and reassessing.  I may have waited a little too long to watch M3GAN 2.0, however.  I remembered the premise of M3GAN: an AI robot companion built to keep a young girl company misreads its protocol and ends up killing people.  I’d forgotten the details of how this came about, but as I watched the sequel, it started coming back.  It might’ve been best if I’d rewatched M3GAN first, but weekends are only so long and I’ve got a lot to do.  In any case, it isn’t bad.  This is sci-fi horror, but the future it foresees doesn’t seem very far off now.  So, M3GAN was destroyed at the end of the first movie.  Her maker, Gemma, has become kind of a Neo-Luddite, such as yours truly, and is advocating for control of AI by the government.  This need is underscored when a military application of M3GAN goes rogue and starts killing people.

Fighting fire with fire, Gemma decides she needs to bring M3GAN back to stop AMELIA.  After the usual chaos and action, it seems that AMELIA is going to merge with the motherboard of the first AI system built, which is now super-smart, and will then wipe out the human race.  M3GAN, however, has “learned” empathy and is able to stop AMELIA by sacrificing herself.  The film doesn’t have a clear message, although overall it seems to advocate caution regarding artificial intelligence.  On that I agree.  (Of course, we’ll need to get some kind of actual intelligence in the White House before we can consider any of this.)  This does seem less horror and more action than the original, but it goes quickly and is fairly fun to watch.

A few months before seeing this, I’d watched Companion, another AI cautionary horror movie.  A few months before that, Ex Machina.  Companion was a bit better, I think, but the original M3GAN was out of the gate first.  Ex Machina, however, was even a decade earlier.  The films are very different.  Companion is about a sex-bot and M3GAN concerns a, well, companion for a lonely young orphan.  Ex Machina is about an AI woman developed just because she can be.  She, however, can’t be controlled either.  All three films represent the zeitgeist of an underlying, lurking fear that we are really going the wrong direction with all the tech we’ve created.  All feature female robots, and none of them end well for humankind.  At least if the implications are followed through.  It might not be a bad idea to pay attention to the human creative side when thinking about Actual Intelligence.

Not Conan

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What are Weapons without a Barbarian?  I learned about the latter movie after reading about the former.  After watching Weapons I knew I had to see Barbarian.  It is outlandish but decidedly scary.  I haven’t been that tense during a movie for some time.  Nor have I watched one where there were so many moments when the average person in real life would’ve just left before things got so bad.  There may be some spoiler-level information here, but I won’t give away the ending.  Tess is booked into an AirBNB in Detroit, but arrives to find another renter already checked in.  It’s a rainy night and there’s a convention in town so all the hotels are booked.  Tess decides she can trust Keith and stay the night.  They end up getting along very well, and she’s planning on staying the next night as well, even with the double-booked situation.  Then Tess discovers a disturbing room in the basement.

We then learn that Keith, whom we’re all suspecting (Bill Skarsgård has become well known for playing horror villains), isn’t the real threat.  In one of the moments when I would’ve left, she goes to find him after he falls silent in the basement.  She discovers a sub-basement where a strange, inhuman woman dwells.  This woman kills Keith.  Cut to California where AJ, a guy who’s not exactly evil but certainly not good, is being accused of rape and is losing money.  He’s the owner of the AirBNB and he flies to Detroit to get the house ready for selling.  He sees that it’s occupied, but the agency says no one is staying there.  He discovers the secret sub-basement and we learn a sexual predator has for years been abducting women, having children with them, and then having children with their children, thus producing the scary woman.

As I say, outlandish, but the story is quite effectively filmed.  The real monster is not the woman, but modern people such as AJ.  The police refuse to help because they assume everyone in that neighborhood is a crackhead.  The urban blight reminded me very much of It Follows, another horror film set in Detroit.  This is kind of a new form of folk horror where the landscape becomes a monster.  Instead of using traditional folklore, however, films like It Follows and Barbarian suggest that the landscapes we build and then neglect become scenes of supernatural horror.  This is quite effective.  Having grown up in a much smaller town, but one which is equally neglected, this kind of horror really works.  Zach Cregger has become another horror director to keep an eye on.

Accidentally Backward

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I watched Regression by accident.  “How is that possible?” you might ask.  Well, I don’t read up about movies before watching them.  These days I try to save money by streaming on services I pay for anyway, such as Amazon Prime.  I had identified The Tractate Middoth as a movie that I could see without knowing anything beyond that it was based on an M. R. James story and that it was only about half an hour long.  I clicked on it.  It struck me as strange that it began with a “based on true events” intertitle, but people will do anything to sell a movie, including saying fiction is fact.  Then I noticed that the production values were pretty substantial.  I began to wonder if there were two movies by that title.   About forty minutes later, I’m needing to take a restroom break and I’m thinking, this movie should be done by now but it feels like we’re in the middle of things.

After I flushed and clicked back in, the title “Regression” flashed across the top of the screen.  Well, that explained a lot.  I didn’t recall having read any M. R. James stories like what I was seeing.  Clearly my initial click had been off and I’d hit the movie next to, or above or below, the one I wanted to see.  With that level of investment, I figured I might as well watch the rest.  It wasn’t bad but it took me a while to reassess my expectations.  Regression is about how the Satanic ritual abuse scares of the 1990s were fueled by, well, regression therapy.  A girl in Minnesota is identified as having been ritually abused.  Her story convinces police, who use a therapist to do hypno-regression to uncover what “really happened.”  Soon even the cop in charge is seeing Satanists coming after him in his own house.

The movie isn’t great, but it’s not bad either.  It has enough Bible in it to have made the cut for Holy Horror (or Holy Sequel).  And it is religion-based horror.  It wasn’t what I was expecting to see, of course, but that can’t be blamed on the movie.  The Satanic panic was real and unfortunate.  The movie is probably more of a thriller than horror, and yes, I can accept that it was based on real incidents because the panic is well documented.  There is no Devil here.  There are also no Satanists.  The real culprit, the film implies, is the fundamentalist minister who first suspected the abuse.  It is something to think about, but it was no Tractate Middoth.

Finding October

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This post is both about and not about a movie.  On a recent weekend I tried to watch The Houses October Built.  I found it on a free streaming service (with commercials) and settled in.  I’ve been looking for good movies to watch in October for many years, and this one seemed to have promise.  Then a couple of things happened.  But first, the idea: a group of friends want to find the most extreme haunted house attraction in the country.  Fine and good.  Their banter is appropriate, and engaging.  But thing one: the backdrop is again in part of the country where the leaves don’t change dramatically.  Like Halloween, it has the Southern California feel.  Not the truly spooky mid-Atlantic, upper Midwest, or New England autumn.  This is, for me, an integral part of the Halloween, or October experience.  It’s one of the reasons I could never move to the south.

Thing two: as a found footage movie, the camera motion made me physically sick.  Now, I don’t want to give up on “found footage” films.  I really liked The Blair Witch Project.  Perhaps because one of the missing campers was a film student, the camera motion wasn’t extreme.  I do remember newspaper reviews when it came out saying that some people left the theater ill because of it.  Since then, however, found footage has become a standard horror trope.  Some of it is quite good.  The Houses October Built joins VHS Viral, Amish Witches, and even Avatar 3D,  as films I could not finish watching because of too much camera motion.  Other movies have come close.  I’m sure the condition I have has a name.  Since it mostly affects me these days when watching movies, I see no reason to go under the knife to fix it.  But the fact is, the nausea after it sets in lasts for more than a day.  The insidious part is that I notice I’ve entered that realm suddenly, usually because a movie, like The Houses October Built, are engrossing.

If enough people read this blog I’d call this a plea to movie makers—the camera does not have to move constantly to make your film scary.  You are, in fact, limiting your viewership by at least one fan by making it utterly unwatchable.  No movie is worth being physically ill into the next day.  I have a friend whose favorite type of horror movie is found footage.  I often can’t discuss this with him because I’m often afraid to watch them.  And really, does anybody else appreciate that the trees are part of what makes the fall spooky?

Oh Deere

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Strange Harvest seems to have impressed a number of viewers, but for someone attuned to religion and horror it rang false.  The Lovecraftian elements appear with the idea of a serial killer who’s the devotee of an unfamiliar god.  The story is presented as a documentary, interviewing the detectives who resolved the case, intercut with crime scene footage—often quite graphic and gory—and trying to get to the bottom of this case.  So a guy named Leslie Sykes has been killing people in San Bernardino county since 1995.  He took a hiatus in his killing spree to go to Jerusalem, after seeing something in a cave while out hiking and experiencing a religious mania.  From Jerusalem he goes to Damascus and then into Europe, learning about religions, apparently, before stealing a grimoire from a bookshop in Germany.  He’s pretty clearly trying to raise an unorthodox deity, but the police don’t connect the dots.

After his years’ long absence, he starts killing again in order to have his last sacrifice ready when a rare triangular alignment of Mars, Jupiter, and Saturn will be visible with the naked eye.  He is stopped from his final murder attempt by the police, but witness cameras captured some strange cosmic event starting to unfold as the final victim is about to be immolated.  I’m not a fan of this kind of movie but what really made it seem less authentic was the stitched together nature of this religion.  It is never spelled out, it is true, but what is shown does not seem to add up to any coherent system.  The movie does an effective job of creating a scary sociopathic killer, but it implies that the religion responsible is real.  A religion of one, however, isn’t really a religion at all.

Again, critics seem to have liked this but I found the actions of the police inscrutable and the grotesque methods of torture and execution unequal to the task of suggesting how these might be connected into even a psychotic religious outlook.  The only thing that seems to connect them is an occult symbol left behind at the crime scenes.  The letters from the killer to the police are read only in part, and that by some kind of synth voice that’s probably meant to make them sound sinister.  This kind of horror can work, but in general, creating new religions is not as easy as it looks.  Lovecraftian isn’t a bad choice, but drawing the threads a little more closely together could’ve helped a lot.

Deception

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It’s not bad for an independent horror film written and directed by the same person.  Who also did the music.  The Ruse is a moody murder-mystery with several elements that are unnerving.  The main problem is that the resolution is overly complicated and relies on too many factors coming together too perfectly.  Still, it’s worth the time.  Olivia Stone is a woman undergoing hospice in her own home in Maine.  She has dementia, but with moments of lucidity.  Her live-in nurse, Tracy, disappears one night and is presumed dead.  Dale, who really needs the work, is called to the house.  She finds Olivia demanding, while sometimes being very cordial.  Tom, a young man with a daughter, the next door neighbor, helps out when he can.  He has anger issues, according to Jacob, the grocery-delivery guy, also young.  Both of them try to make moves on Dale, which she resists.

Dale, whose relief hasn’t come, becomes convinced that Olivia isn’t really bed-ridden as she seems to be.  Somebody has been blocking the live feed from Olivia’s room and Dale thinks it’s her.  Tom, who is under suspicion, has been arrested, so he’s in jail the night of the attack on Olivia.  When Dale’s relief finally arrives, she is stabbed while trying to revive Olivia.  Dale, who escapes from a locked room, accidentally stabs Jacob, who tries to warn her.  Olivia, not dead from the attack, accuses Dale but then she falls and hits her head, which kills her.  Dale is accused of the murder but is cleared because she’s left-handed and the evidence planted against her shows a right-handed perpetrator.  You get the picture.  Complicated.

The premise, however, is pretty scary in its own right.  A dementia patient who is paranoid and demanding.  She also claims her deceased husband’s ghost is in the house, trying to take her with him.  The Maine scenery is wonderful and the set-up, or “ruse” does work if you follow the lengthy explanation the detective gives.  All of the elements shown on screen are in service of the story, so there’s little that’s extraneous.  Dale’s boyfriend Ben, however, doesn’t really have a role and Dale’s lack of using him for a sounding board is a bit unusual.  Some of the character motivations seem a bit off.  Still, even with these issues, the movie holds together and keeps your interest.  It makes me think that Stevan Mena, the writer-director, has some talent.  The Ruse is better than many films I’ve picked up on the fly.  It’s not bad, even if not great.

Substantial

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Body horror isn’t my favorite, but The Substance was so widely acclaimed that I figured I needed to see it.  It’s easy to see why it was so well received—it is not only well done, it also packs a lot of social commentary into the story.  I hadn’t read about the plot before seeing it, and it occurred to me that the theme wasn’t dissimilar from Edgar Allan Poe’s “William Wilson,” but from the point of view of a woman who’s been celebrated for her good looks and finds herself aging out.  Elisabeth Sparkle has had a successful television personal fitness series for years.  When she turns fifty, however, studio executives decide she has to be replaced with someone younger.  The men in the movie are portrayed in an unflattering light, unable to curb their appetites, while Elisabeth has to stay in shape, remain “beautiful,” to find any work at all.

Then a doctor furtively informs her about “the substance.”  It comes with few instructions, but it causes a person to create a new version of themselves—younger, more attractive—but they must swap out their existence every week.  One week the younger body is active while the older body is comatose and then they keep on switching weekly.  The younger Elisabeth, named Sue, takes Sparkle’s job and becomes a hit.  Her fitness show, highly sexualized, quickly gains ratings.  Sue has boyfriends and glamour.  Elisabeth awakes to find the apartment a mess and starts to regret the doubling.  The advertising for the substance repeats the message, the two of you are one.  Then Sue starts to “stay out late,” taking a few extra hours before switching.  This causes Elisabeth to age, in pieces, very rapidly.  She takes her revenge on Sue by overeating and leaving the apartment a mess.

Of course this is building to a big finish, which I won’t describe here.  There are a number of themes the film asks us to ponder.  Women are expected to stay young to be valued by the men who control the money.  The divided self comes to hate itself.  And there is little recourse for those whose careers reward them richly for being young but who will live well beyond that with only the memories and regrets of what they no longer have.  Although the movie is deliberately comic in many respects, it is also a sad story.  Expectations are unreasonable and unrealistic, and women have to play by the rules set by men.   The Substance has depth and pathos.  And pointed social commentary.

Not Too Tired

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It was the choice of reading a very long Stephen King novel or watching a very long movie.  The fact that Doctor Sleep was leaving Netflix soon decided the toss.  I’d heard that this sequel to The Shining wasn’t bad, but not as good as the original.  Stanley Kubrick’s movie is a masterpiece, so trying to follow it up requires more confidence that I would be able to muster.  Still, Doctor Sleep is not bad.  Danny and Wendy survive, but Dan still sees the Overlook entities coming after him.  As an adult he has shut out the shine and become an alcoholic.  He catches a bus to New Hampshire and meets a recovered alcoholic who befriends him.  In recovery himself, he works in a hospice where he uses his shine to help those whose deaths are imminent, earning him the nickname “Doctor Sleep.”

Meanwhile, entities like those at the Overlook are killing and “eating” kids with shine, but they call it steam.  Abra, a girl with very strong shine, contacts Dan because she experienced the creatures’ latest murder.  The creatures’ leader, Rose, is able to project herself anywhere and she finds Abra and becomes intent on “eating” her.  Dan, who realizes he has to use his shine to save her, with the help of his new friend (actually they’ve now known each other for eight years) goes to trap the entities.  One of them, however, kidnaps Abra and when Dan meets her after the kidnapping he knows they have to lure Rose to the Overlook Hotel.  I think I’ll stop summarizing there, but this gives you an idea of just how large a tale this is.

There are plenty of cues for those who want to be reminded of The Shining.  The climax at the Overlook takes viewers back to the original location and brings back some of the characters.  Overall it’s pretty well done but just what these entities, or creatures, are isn’t really explained.  At a number of points the supernatural becomes almost too much.  There’s no Kubrickian reserve here.  The story is much more about addiction and overcoming it.  Jack Torrance, after all, was an alcoholic.  The movie shows this but the novel dwells on it quite a bit more.  Doctor Sleep make alcoholism key to the tension Dan undergoes as an adult, even when he’s back at the Overlook, paralleling his father’s stopping in the bar.  The movie threads the path between The Shining King didn’t like and his vision of what happened after that episode.  Ambitious, but it does keep your attention, for a long movie.

The Queen

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It’s a confused mess of a movie.  I have a fondness for ghost stories, and when I saw Haunting of the Queen Mary on a streaming service I use, I figured why not.  I wish I’d figured differently.  The film does have its charms, but the story is confusing and the confusion gets in the way of any enjoyment of the plot.  What’s more, it isn’t resolved even at the end.  You can tell something’s wrong when a Google search autofills “explained” as a suggestion after typing in the movie title.  Other people have the same issue.  I get that two timelines are slipping into each other, one contemporary and the other from 1938.  I’m not going to worry about spoilers, by the way, since I’m simply trying to figure out how this is supposed to fit together.

The problem seems to have started with a foundation sacrifice.  Back when the vessel was built, a man was sealed alive into a chamber over which a pool was constructed.  This person appears in at least three different characters between the thirties and the present.  In 1938 he appears to have gone insane, killing several people with an axe.  Another plot is that the little girl (apparently his daughter) is trying to get an audition to dance with Fred Astaire, who is a passenger.  Then in the present day, a couple seems to want to pitch a program to help revive interest in the now anchored ship to help save the monument.  A security guard (?) styling himself as the captain, seems to be the foundation sacrifice man, but he also knows that some sort of time slip has occurred.  The modern day people seem to end up in the thirties or the thirties characters show up in the present day.

The lack of clarity seriously detracts from any promise the film may have.  I know when I start looking at my watch during a movie that it has problems.  Added to this, the run time is two hours.  That much time spent only to be confused about everything begins to feel like a real waste.  It did make me interested in the history of the real life RMS Queen Mary.  Some of its history is presented in the movie.  In real life it holds the record for the most people aboard a single vessel at the same time.  Ships make good settings for ghost stories.  If they aren’t too convoluted, they can be quite enjoyable to watch.  In this case, Haunting of Queen Mary is on my not recommended list.

Seasonal Horror

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It was a rare combination: Friday the 13th, Saturday Valentine’s Day, and Monday some federal holiday.  One of our first friends as a couple called unexpectedly on Friday to say she was in the area and that led to an impromptu meeting for a late supper at a diner.  Still, being Friday the 13th a horror movie was prescribed.  So I picked My Bloody Valentine.  I’ve seen it before, of course.  (I had a whole life before this blog, as witness this friend.)  But the confluence of Friday the 13th and Valentine’s Day forced me to realize that I’d never posted about it.  And the fact that Monday is Presidents Day made a horror movie mandatory, given the current denizen of the White House.  Back to My Bloody Valentine.  First of all, there was the question of which to watch.  The original from 1981?  Kids in high school were talking about this, but I didn’t watch it until several years later.  Then there was a reboot, My Bloody Valentine 3D, which wasn’t as highly rated, in 2009.  It nevertheless was well made and, it was streaming for free.  Spoilers follow.

I’d forgotten whodunit, so the movie kept me guessing.  Here’s how the story goes: a coal mine cave-in led Harry Warden to kill his fellow miners to preserve the air to survive.  He went into a coma, but after a year he awoke and massacred the hospital staff and kids partying at the mine on Valentines Day.  He was shot dead.  Ten years later, Tom, the son of the former mine owner, one of the kids at the fateful party, returns to town to sell the mine.  Instead, he becomes Harry Warden in his mind and begins killing again.  Viewers don’t know that it’s him since he wears a miner’s mask.  Suspicion is thrown on the sheriff, Axel, who was also one of the kids at the party.   And Tom and Axel are feuding over Sarah, now Axel’s wife, but formerly Tom’s girlfriend.  The movie effectively keeps you guessing whether Axel (who’s a philanderer) or Tom (who has mental problems) is the killer.

The movie has a Pennsylvania feel to it, having been filmed in my home state.  This is more in the industrial part where I grew up, rather than the Bucks County that features in M. Night Shyamalan movies.  The only thing they got wrong is that it doesn’t seem very cold for February.  (February can be a trickster in this state, with temperatures anywhere from the seventies to zero or below.)  It isn’t a bad horror offering.  The 3D effects are campy, but that only adds to the fun.  It was the right choice, given the confluence of red letter days.

Spells

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I suspect the reason Incantation was recommended to me is that it is an intimate blend of religion and horror.  A Taiwanese horror film, the highest grossing ever for that country, Incantation is in found-footage format.  Fortunately the camera motion isn’t excessive, so I was able to watch it all.  The story involves a woman ghost hunter who accompanies her boyfriend and his cousin to a site with a reputedly haunted tunnel that they plan to film.  The tunnel is on the property of the boyfriend’s great uncle.  The movie, by the way, isn’t presented in chronological order, so piecing it together may take some afterthought.  In any case, the woman is pregnant when she visits the shrine and the family, who perform strange rituals, do not welcome her.  Nevertheless, the young men persist in exploring the tunnel and discover a curse at the end of it that leads those who see it to die by suicide.  There will be spoilers to come.

The movie begins with the woman reclaiming her six-year-old daughter from foster care.  After the event at the shrine, she had herself committed to a psychiatric hospital, but now that she’s recovered, she wants to raise her daughter.  Unfortunately, the curse remains.  The girl sees bad entities and can’t make friends.  The mother grows increasingly distressed and kidnaps her daughter when she is hospitalized.  She then takes her to a different shrine but the religious master is killed by unseen forces.  She then returns her daughter to the hospital and takes the camera back with her to the original shrine.  The idea, like Ringu, is that if you see the video you will be cursed.  The important difference, however, is that if the curse is widely dispersed it will be weakened.  The viewer is, in the diegesis of the movie, cursed.

This film is of interest for a number of reasons.  One is that the deity is malevolent and only by worshipping it and obeying strict rules can anyone who encounters it be safe.  In the western world there are no malevolent deities beyond Satan, and he’s not really a deity.  The family that worships this god want to be freed of it, but the god is in a tunnel on their land.  They inherited it.  There’s an element of possession at play as well.  Those who watch the video kill themselves because the deity possesses them.  There is also no way to completely destroy the curse—it can only be passed on and diluted.  The movie is quite well done although some aspects of it are familiar from other horror offerings.  Its relationship with religions of east Asia make it a particularly intriguing example of T-horror.

Retro Fear

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Maybe I shouldn’t have started.  This was, however, a recommendation from a friend, so I watched Fear Street 1994.  I say maybe I shouldn’t have watched it because I then learned that it’s a trilogy and I’m not sure that I want to watch the other two parts.  Not because the movie was poor, but because of time.  That, and I’m not a slasher fan.  At the same time, this movie does address the issue of class disparity.  The story begins in 1666 (the satanic number is intentional, of course) when a minister became a mass murderer.  This was because he was possessed by a witch and that witch comes back every few years in a new possessed person who kills several people.  In 1994 she possesses a mall worker who kills his friend and several others before being shot dead by the local police.  Class enters into it because the bad stuff takes place in Shadyside, a town right next to Sunnyvale, which is affluent and crime free.  Shadyside is where the poor live, work, and go to school.

A set of five friends band together to try to figure out what’s happening after the dead murderer starts pursuing them.  It turns out that two of the past murders, also undead, have converged on Shadyside to kill a girl who disturbed the witch’s grave, accidentally.  It’s also a love story but it leaves the situation unresolved because, well, part 2.  The problem with this kind of movie is that you don’t know if the unanswered questions you have will be addressed in the other two parts or not without watching them.  Since I’m not really fond of slashers and I’ve got other things to see and do, I’m not sure that I’ll get the answers.  And I don’t want to cheat by reading up on it.

Was Fear Street worth watching?  I’d say yes.  Despite the gaps, perhaps holes, it was nevertheless not a bad film.  It is very full of action and twists.  Some of the tropes are well-trod territory—adults never listen to teens, the killer can’t be stopped, an ancient crime keeps recurring—but there is enough new here to keep a viewer interested, at least through the first installment.  It is a little distressing to see the nineties being referred to as “retro,” but then again, 1994 was over thirty years ago.  And something about watching young people so alive (until they end up dead) does have a way of providing a bit of a thrill to even a guy my age.  But I’m not sure I should’ve started something I may not finish.

Don’t Tank It

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The Tank is a reasonably well done monster movie.  It isn’t great, but monsters are monsters and they can be appreciated in their own right.  The main problem of the movie is that it’s not terribly well written.  The premise is scary enough.  A family of three goea to inspect a property they inherited but which nobody in the previous generation had ever mentioned.  The house is in a remote cove on the Pacific, in rural Oregon.  They arrive to find it boarded up and in poor repair.  Ben, the father, begins making basic repairs while his wife Jules and daughter Reia try not to become too creeped out.  The water supply comes from an underground, eponymous tank that brings spring water into a reservoir.  There’s no electricity.  That night something tries to get into the house.  Ben assures his family it’s only a raccoon or some other woodland animal.

The tank, where the monster comes from, is certainly creepy in its own regard.  When they become convinced something may indeed be wrong with the property a realtor shows up with a generous offer from a buyer.  She is, unfortunately and predictably killed as she tries to leave and we see the monster for the first time.  This is a dilemma for all monster movie makers—when and how much of the monster to show.  We’ve seen monsters of every description and seeing a new one invites comparison with others.  This monster, a toothed amphibian, troglomorphic from having evolved in a deep cave, has some resemblance to the Demogorgon from Stranger Things.  It attacks by sound (A Quiet Place) and perhaps simply by sensing movement.  There are a lot of “why?” moments in the film; why didn’t they do this or that obvious choice of action.  But still, there’s a new monster.

Eventually Ben is able to contact police but the police officer (why did he not pull his gun when he first saw the monster?) is killed.  All three members of the family are attacked with Jules ultimately getting them to safety.  Part of what makes this a mediocre offering is that there is nothing profound about it.  The monster was released—actually it’s a family of monsters—when the tank cut into its sealed cave.  It attacks people, it’s implied, the way an axolotl defends its territory.  This isn’t explored in any detail.  There’s also the backstory of Ben’s family; his father and older sister were killed by the monsters, but his mother was deemed insane and responsible for the deaths.  So there’s a lot going on in the movie but no real resolution to the many ideas that are started by the story.  It’s a meh horror movie, but it does have a monster.

That House

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In this season of deportations, thinking about what it means to be a refugee couldn’t be more important.  The horror film His House makes you do just that.  Bol and Rial are fleeing war-torn South Sudan with their daughter.  After a mishap on the overcrowded boat from France to England, their daughter drowns.  Kept in a refugee camp for months, they are finally allotted a council house in poor repair and a meager income.  If they violate any of the rules, which include living anywhere else or trying to earn their own money, they will be deported.  Bol tries to assimilate quickly while Rial is more tied to her traditional ways.  Then the ghost of their daughter, and other dead from the war and the crossing, begin to haunt them.  All the while they face the threat of deportation.  Some spoilers follow.

Rial recognizes the ghosts come from an apeth, a kind of witch that demands repayment for the crossing.  Bol sees the ghosts too, but denies it.  They will not go back, he insists.  When the social workers come to inspect the house, after Bol asks for a different place, Rial tells them a witch is causing the problems, causing the Englishmen to roll their eyes.  When Rial tries to escape, an alternative reality back in Africa shows that when Bol was denied a place on the overcrowded refugee bus, he grabs a random girl—their “daughter”—to get a place on board as the soldiers begin shooting.  The girl’s mother is left behind, screaming for her child.  The apeth is demanding Bol’s life for that of the girl he used to gain his freedom.  Rial, realizing that Bol will die for trying to make their life better, attacks the apeth and lets go of the image of their daughter.

This is a sad and thoughtful kind of film.  We seldom stop to think that refugees, in culture shock already, are stripped of everything familiar and made to feel as if continuing to live is itself a special favor.  They have their own ghosts too.  The real horror here comes through seeing the world through the eyes of someone who has experienced a high level of trauma.  To do so while Trump’s storm troopers are once again separating families, killing people at will, and deporting refugees, is not an easy thing to do.  Horror can be an instructive genre, and although the threat here is supernatural, as it often is in folk-horror, the real fear is all too human.