As I have very occasionally done before, this time on Shudder Saturday I am covering a show that they have provided on the streaming service, rather than any one movie. I was previously going to do this with Creepshow, their highly anticipated spin-off from the popular anthology movie, but I figured too many people would be upset if I just spent one blog post trying to find fifty different ways to say "lazy pile of shit".
Anyway, to Cursed Films, a 5-episode series (to date) that features, in order, The Exorcist, The Omen, Poltergeist, The Crow, and Twilight Zone: The Movie.
It's generally a bit weak, to put it mildly. What the show does best is show how people will interpret certain events because of their own views. It's almost an enjoyable study of confirmation bias, and if the makers of the show had decided to pick apart the theories with that in mind then I dare say that this could have been a much more interesting watch.
If you are familiar with The Exorcist then you probably know everything that crops up in the first episode. It's easy to see why the movie was chosen as the first title to be looked at. It's also arguably the biggest disappointment of the whole series, with the content displayed being a mix of something covered much more effectively in many other discussions (including the excellent documentary from Mark Kermode) and some absolute balderdash that shows someone offering exorcisms to a couple of people who seem clearly in need of some extra care from their fellow humans.
The Omen is similar, a regurgitation of many stories that have been told many times before. Yet, because more of The Omen stories are near-misses and could-have-beens, it feels much more tenuous. Something less powerful turned into something marketable by those who were involved in the making of the movie.
Things pick up with the episode on the Poltergeist movies, thanks to the involvement of many people who speak honestly about their own emotional pain after the premature death of young Heather O'Rourke and some wonderfully candid clips (including an archival interview with Zelda Rubinstein) calling bullshit on the whole idea of a curse, and claiming it to be quite disrespectful to those who were more immediately impacted by the loss of loved ones. It's a shame you also get a tangent with some location-hunters finding the house used for filming, and an amateur interview conducted with a neighbour who appears to give some needless "scoop" on the filming of the movie, but the good stuff here is better than anything in the first two episodes.
The Crow keeps things moving in the right direction. A lot of people know the story by now, and the parallels between Brandon Lee and his famous father, Bruce, but this takes you clearly through the chain of events, and explains how the film ended up being completed due to the wishes of those who knew that Brandon Lee was so pleased with his work in the movie. It's a shame that there wasn't a bit more time detailing the huge impact this had on the life of actor Michael Massee (the man who shot the gun, assuming it was all correct and as safe as these things are required to be on any movie set), but it generally gives you the familiar with an added personal connection from people who were directly involved with the movie.
Last, and by no means least, we get to Twilight Zone: The Movie. Be warned, there is footage here of the incident that led to the death of actor Vic Morrow and two young children that is up there with some of the most distressing content I have ever seen. It's real, it happens quickly, it's hard to believe it happened that way, and hard to believe they show it in this show. This is, however, the best episode in the whole series, because of the full picture built up by the many talking heads, and because of the raw nature of a number of archival clips. It's also a huge reminder that (and I LOVE his movies, met the guy, got a bluray signed, and got a pic) John Landis is a massive shit, who should have at least been found guilty of some manslaughter charge. He was a reckless asshole, and his career should have been over after this movie. The documentary doesn't quite cover things here as in-depth as it could (such as a certain rumour about important figures being quickly whisked away from the vicinity, or the way in which the jury on the main court case could have been . . . influenced), but it makes clear, despite the statements from one or two people, that Landis made the bad decisions that led to this tragedy. But, hey, he attended all three funerals, and actually got up to speak at Vic Morrow's funeral, rambling about the immortality Morrow had onscreen. He's clearly upset, which is at least something, but that takes some level of nerve, considering the fact that people state Morrow wasn't really enamoured by Landis, and took the gig because of the involvement of Spielberg.
Each episode is just under half an hour, so I WOULD recommend watching the whole thing (especially if you are a younger horror fan, or a newcomer to the genre), but it's a shame that the quality only picks up in the second half. Although it's still a damn sight better than Creepshow (the series).
6/10
Showing posts with label the crow. Show all posts
Showing posts with label the crow. Show all posts
Saturday, 16 May 2020
Shudder Saturday: Cursed Films (2020)
Labels:
cursed films,
horror,
jay cheel,
mitch horowitz,
phil nobile jr,
poltergeist,
ryan turek,
shudder,
the crow,
the exorcist,
the omen,
the twilight zone
Monday, 31 March 2014
The Crow (1994)
Forever enshrouded in an air of macabre, due to the death of star Brandon Lee during the filming of the movie and the whole premise, The Crow was a great success when first released, and has since maintained a loyal following over the past two decades. Some of that success, undoubtedly, stems from people who became curious about the movie after hearing of the fatal on-set accident, but I like to think that some, if not most, of it stems from the fact that it's a great movie, boosted by a charismatic lead turn from Lee, working at his very best.
Eric Draven (Lee) is a musician and a man very much in love with his fiance, Shelly (Sofia Shinas). Well, he WAS. You see, a bunch of thugs broke into their apartment, raped and assaulted Shelly and threw Eric out of a window. Eric died, while Shelly battled with pain for 30 hours before finally succumbing. A police officer (Ernie Hudson) stayed with her, in the hope of getting a statement that would help him catch the criminals, but nothing could be done. One year later, Eric is brought back from the dead. He crawls out of his grave, watched by a crow, and staggers around while he figures out just why he is back. It soon becomes clear what he has been brought back for. Revenge.
Based on a comic by James O. Barr, The Crow has a solid screenplay, by David J. Schow and John Shirley, and is directed brilliantly by Alex Proyas. From beginning to end, this is a treat for the eyes. Some (okay, quite a few) of the special effects have already dated a bit, but whether it's a view of events through the eyes of the crow or a shot showing Brandon Lee athletically swinging around on a window frame, every scene has at least one or two gorgeous moments. The ears are also well looked after, with a soundtrack that features a great score by Graeme Revell weaving in between tracks by The Cure, Stone Temple Pilots, Rage Against The Machine and many more.
Michael Wincott is a villain, accompanied by the likes of Tony Todd, David Patrick Kelly, Angel David, Laurence Mason, Michael Massee and Bai Ling. Wincott rules every scene that he is in, as you might expect, but the pleasant surprise is just how each villain gets just enough time to show their defining characteristics before death comes calling for them. Jon Polito also gets a few good moments, playing a cowardly pawnbroker profiting off the misery of others. Anna Levine is good as the drug-addicted mother of the young girl (Rochelle Davis) who soon puts two and two together to work out the identity of the avenger with the painted face. Hudson is warm and likable and brilliant in his role, and then there's Lee, who gives a performance that I like to think would have taken his career up to another level, had his life not been cut short by that terrible accident. But that's something that we'll never know.
What I do know is that The Crow has aged pretty well. Detractors can pick apart some of the FX work and the excessive rock video style of a number of moments, but there are plenty of set-pieces and electric scenes that more than make up for any failings. Fans will enjoy revisiting this one, and anyone who has yet to see it should do so whenever they get the chance.
8/10
http://www.amazon.co.uk/Crow-Collectors-Edition-Blu-ray-Brandon/dp/B000IMVMFM/ref=sr_1_2?ie=UTF8&qid=1391374402&sr=8-2&keywords=the+crow
Eric Draven (Lee) is a musician and a man very much in love with his fiance, Shelly (Sofia Shinas). Well, he WAS. You see, a bunch of thugs broke into their apartment, raped and assaulted Shelly and threw Eric out of a window. Eric died, while Shelly battled with pain for 30 hours before finally succumbing. A police officer (Ernie Hudson) stayed with her, in the hope of getting a statement that would help him catch the criminals, but nothing could be done. One year later, Eric is brought back from the dead. He crawls out of his grave, watched by a crow, and staggers around while he figures out just why he is back. It soon becomes clear what he has been brought back for. Revenge.
Based on a comic by James O. Barr, The Crow has a solid screenplay, by David J. Schow and John Shirley, and is directed brilliantly by Alex Proyas. From beginning to end, this is a treat for the eyes. Some (okay, quite a few) of the special effects have already dated a bit, but whether it's a view of events through the eyes of the crow or a shot showing Brandon Lee athletically swinging around on a window frame, every scene has at least one or two gorgeous moments. The ears are also well looked after, with a soundtrack that features a great score by Graeme Revell weaving in between tracks by The Cure, Stone Temple Pilots, Rage Against The Machine and many more.
Michael Wincott is a villain, accompanied by the likes of Tony Todd, David Patrick Kelly, Angel David, Laurence Mason, Michael Massee and Bai Ling. Wincott rules every scene that he is in, as you might expect, but the pleasant surprise is just how each villain gets just enough time to show their defining characteristics before death comes calling for them. Jon Polito also gets a few good moments, playing a cowardly pawnbroker profiting off the misery of others. Anna Levine is good as the drug-addicted mother of the young girl (Rochelle Davis) who soon puts two and two together to work out the identity of the avenger with the painted face. Hudson is warm and likable and brilliant in his role, and then there's Lee, who gives a performance that I like to think would have taken his career up to another level, had his life not been cut short by that terrible accident. But that's something that we'll never know.
What I do know is that The Crow has aged pretty well. Detractors can pick apart some of the FX work and the excessive rock video style of a number of moments, but there are plenty of set-pieces and electric scenes that more than make up for any failings. Fans will enjoy revisiting this one, and anyone who has yet to see it should do so whenever they get the chance.
8/10
http://www.amazon.co.uk/Crow-Collectors-Edition-Blu-ray-Brandon/dp/B000IMVMFM/ref=sr_1_2?ie=UTF8&qid=1391374402&sr=8-2&keywords=the+crow
Labels:
alex proyas,
anna thomson,
bai ling,
brandon lee,
david j. schow,
david patrick kelly,
ernie hudson,
james o'barr,
john shirley,
jon polito,
michael massee,
michael wincott,
rochelle davis,
the crow,
tony todd
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