Crash Analysis: THE WOMAN (2011)

Ultra-disturbing Character Study

A man brings a feral woman into his house…

Lucky McKee’s THE WOMAN, is clearly his best feature since MAY. Again, with the phenomenal Angela Bettis in the mix, this twisted take on family, suppression and feminism is amazing in woman_xlgits tension and suspense.

This venture into an alpha-male that brings a feral woman into his root cellar is clearly one of the most disturbing films ever made. And that’s not a bad thing by any means. If this foray into the abyss does not bring about a visceral emotion from within, you may not be breathing.

Using music to help shape the tone, McKee delivers on all fronts. The best element, however, is that part of the horror takes place during the day, giving us 24-hour coverage of pressure filled hell. Loaded with excellent lighting to maintain an often juxtaposed mood between what the real world should be like and what it actually is in the Cleek home, is exceptional.

Besides a strong story that delves into the psychology of relationships, child rearing, the suppression of women in a male dominated society, McKee delivers these topics in a subtle fashion. For instance, the captive woman (Pollyhanna McIntosh) isn’t just put in a root cellar. This place of imprisonment is significant because the woman is virtually kept underground – secluded from the world, just as the Cleek family is sequestered. However, the important feature is that Chris Cleek (Sean Bridgers) has plucked this animal woman from the wild environment about their home, only to shove her back into the wild environs of the soil to control her. It’s his way of saying he can manhandle and dominate nature inside and outside the home – as well as below.

There wasn’t one weak actor in the feature, and the performances were rock solid. Bridgers was absolutely fantastic and should easily rise to the top ten of anyone’s “worse villains in horror” list.

And though many say it’s trash and exploitive, they’re not allowing themselves to think about the many layers and nuances to the film, as well as the eclectic personalities that inhabit it.

There is much to explore in this feature and it’s a definite “must see.”

4 out of 5 stars

(Photo from Imp Awards.)

Crash Analysis: BLACK SUNDAY (1960 Italy)

No blimps were harmed in the making of this film.

A witch seeks revenge by trying to possess a descendent.

I was impressed with this “Citizen Kane of Horror Films” as special effects master and actor Tom Savini had put it.

The story is enticing and is delivered quite well with strong special effects makeup for the era, though the “bat” scene is ridiculously weak as one would expect. Like Argento, Bava has a great command of light and shadow, which he uses to the tales advantage in this black-and-white feature.

The only weaknesses were the audio and audio effects that apparently plague many an Italian film from the sixties to the eighties. And, when the characters are in an emotional frenzy, the dialogue takes a melodramatic downfall along with the actors’ delivery. If you find yourself sputtering a laugh, it’s just a natural reaction.

Regardless of its shortcomings, this is worth the time.

3.5 out of 5 stars

Crash Analysis: THE HAUNTING (1963 USA/UK)

Excellent, Dramatic Horror

Four researchers try to prove the existence of the ethereal.

This chilling as well as intriguing ghost story features four characters in a house to prove the existence of the paranormal – or the uncanny. Directed by Robert Wise and based on Shirley Jackson’s novel, “The Haunting of Hill House”, we are taken on a special ride through a 1963 feature with special effects, and an element of creepiness, that still holds up.

In the tale, Dr. Markway (Richard Johnson) investigates Hill House because it has a history of bearing witness to violent death, rage and insanity. Accompanying the good doctor in his quest to prove the house is actually haunted are Luke (Russ Tamblyn), who has inherited the homestead, wry psychic Theodora (Claire Bloom) and insecure Nell (Julie Harris). Nell is Markway’s ace, not so much because of her ESP capabilities, but because the paranormal has shown itself to her since she was a child. All four characters have to face the uncanny, whether collectively or individually, but must survive the isolation and hidden terrors of Hill House in order to tell the tale.

The four actors did a wonderful job in bringing the tale to life, especially since there are many layers to the story. While Dr. Markway is trying to prove his point, his male counterpart, Luke is a skeptic. Theodora likes woman and is drawn to Nell, who wants little to do with her – after all, the mother she cared for had just past away. Nevertheless, the spirits do come alive and are seemingly attracted to Nell thanks to her guilt-ridden energy and dark secret.

This dramatic horror works because most often audio effects are used in lieu of the visual to get scares out of the audience. The special visual effects that are used, however, especially the expanding door, are well crafted. (This is one of the reasons PARANORMAL ACTIVITY (2009) worked so well. Like THE HAUNTING, the horror was often suggested via audio cues and nothing more. Many people I know who despised PA said so because “nothing happened” in the movie. I can only imagine what they would say about THE HAUNTING and other dramatic horrors.)

Though the house is large, claustrophobia abounds thanks in part to the lack of an open floor plan. Each room has a door, which is significant. Opening a closed door and walking through it is akin to entering that mysterious grotto, where no one knows what is inside until one takes that first step. Furthermore, there are few things more enticing for an audience than a closed door they know a character must open. The suspense, as the character approaches the door and turns the knob, does well to keep an audience on edge. This is why the bulging door scene is so important. Audiences were most likely waiting for something to come through the door and never expected it to take on a life of its own.

THE HAUNTING is one of my favorites because of its atmosphere, use of light, shadow and sound, and its strong narrative. Moreover, the end scene with the car, the dark woods and the damsel in distress is very eerie.

4.5 out of 5 stars

Crash Analysis: HELLRAISER (1987 UK)

Great Story, Great Gross-Out

People play with a mysterious puzzle box – and lose…

Barker’s acclaimed HELLRAISER holds no punches when it comes to the disgusting meter, but that’s just an aside to a riveting story inhabited by intriguing characters.

The always phenomenal Andrew Robinson, character actor extraordinaire, leads a cast of the damned, the innocent and the two-faced. And Clare Higgins, Robinson’s on-screen wife, Julia, is remarkable as the torn and ultimately downcast fool.

Right from the beginning, when Frank is encircled with candles as he begins to open his new puzzle box, we instantly know the ride will tear us apart and rock our world.

Though made on a small budget, the special effects are disgustingly amazing and add tremendously to a tale that put “Pinhead” on the map as a horror icon. In regard to said effects, the only reason this exceptional horror tale falls shy of a perfect five, is because of the cheesy “electrical” effects scratched into the film due to lack of cash.

Enjoy the experience in its beautiful ugliness, ask yourself if you’d play with the puzzle box, and get ready to quote Doug Bradley’s “Pinhead” every chance you get. (HELLRAISER quotes are always a hit at parties or in the bedroom.)

4.5 out of 5 stars