The Influence (La Influencia) (2019): adapted from the Ramsey Campbell novel by Michel Gaztambide, Daniel Rissech, and Denis Rovira van Boekholt; directed by Denis Rovira van Boekholt; starring Manuela Velles (Alicia), Alain Hernandez (Mikel), Emma Suarez (Victoria), and Claudia Placer (Nora):
Available on Netflix, The Influence (made in Spain and thus really 'La Influencia') very loosely adapts Ramsey Campbell's superior late 1980's horror novel to decent effect. Some changes make sense either because there's a need for compression in a 100-minute adaptation of a 350-page novel or because certain things in the novel aren't 'cinematic.' Some of those changes may make one view The Influence as being derivative of Hereditary, though Campbell's novel predates that movie by 30 years.
Chief among these later 'cinematic' changes is the decision to have the malign, elderly Victoria on life support for the duration of the film. In the novel, she dies at the beginning. But I can understand the film-makers wanting to leave the door open for a physical battle between 'Good' and 'Evil' at the climax of the film and not simply a spiritual one.
There are other weird lapses that make me wonder about a longer cut of the movie. The disappearance of a major character goes almost unremarked-upon. The coda seems a bit rushed and implausible as one would imagine SOME further police investigation of the events of the movie.
A few moments of implausibility do jar one out of the horror narrative from time to time. I mean, can you really start a massive fire in your urban backyard in Spain and not arouse the attentions of the police and fire department? Because that is one seriously big fire that gets started about halfway through the movie.
The direction is mostly assured, though, and The Influence has a lot of scares both intellectual and visceral. The actors are all competent, especially the child actor playing Nora. And there's a really nice design for a demonic figure, made more effective by the decision not to linger too long on it. Recommended.
Evil Dead (2013): based on the original film written by Sam Raimi, written by Fede Alvarez and Rodo Sayagues; directed by Fede Alvarez; starring Jane Levy (Mia), Shiloh Fernandez (David), Lou Taylor Pucci (Eric), Jessica Lucas (Olivia) and Elizabeth Blackmore (Natalie):
Made with the participation of original [The] Evil Dead (1981) writer/director Sam Raimi, this Evil Dead makes some smart changes to the low-budget 1980's horror film that launched the careers of Raimi, his brother Ted, and star Bruce Campbell.
The first is to come up with a weirdly plausible new reason for the inevitable trip to a cabin in the woods: four of the five characters are staging an Intervention/Drug DeTox for the fifth, Mia, who appears to have a heroin problem.
The second is to alter the tone to one of more seriousness, or at least more angst, for the first two-thirds of the film. The Evil Dead is far less loopy than sequels Evil Dead 2 or Army of Darkness, but next to this Evil Dead, it looks like a Warner Brothers cartoon.
Are there problems? Of course. The addition of a dog to the cast of probably doomed characters goes nowhere, possibly because the filmmakers shied away from graphic violence involving a dog as either victim or perpetrator. The characters are a little shrill at points, though this may be intentional -- certainly, the issues of the various characters are intentional, as is at least one resolution to those issues. The angst tends to overwhelm any attempts at witty or blackly comic dialogue, though. Diablo Cody (Juno, Jennifer's Body) was brought on as a script doctor to add such wit, but it isn't all that apparent what her contributions are.
Gore and violence come in increasingly rapid, escalating waves as the film progresses. Nail guns (an homage to Raimi's Darkman?) and electric knives do some terrible stuff. Several characters take levels of physical punishment that would have made Bruce Campbell's Ash proud. If you're going to be a character in an Evil Dead movie, you've got to be able to take a beating and keep on punching back. The film bounces ideas from all three previous installments around, sometimes in newly effective ways, though I wish they'd worked the overwrought tape recording of the archaeologist into something other than the closing credits. I love that guy.
Through it all, the Book of the Dead remains indestructible and weirdly attractive to otherwise intelligent characters in search of bathroom reading. Even barbed-wire wrapping and annotated warnings from some previous reader of the tome can't stop the high-school teacher from reading an incantation out loud. Stupid teachers!
The filmmakers finally jettison most of the serious dramatic tone for the final twenty minutes, cutting loose in a manner more consistent with the series as a whole. Frankly, it's a relief. And the identity of the survivor or survivors comes as something of a surprise. Recommended.
Goke, Body-Snatcher from Hell (1968): written by Kyuzu Kobayashi and Susumu Takaku; directed by Hajime Sato: Fun though often somber and horrifying Japanese scifi/monster movie. 'Goke' isn't so much from Hell as it is from space, the vanguard of a supposed invasion.
Goke, Body-Snatcher from Hell uses the always-reliable Stagecoach template here, with a limited number of characters randomly brought together by shared transportation (an airplane here, not a stagecoach, lifeboat, or spaceship).
That airplane soon crashes thanks to Goke's flying saucer. And the survivors are soon beset by problems from within and from without, way without, as Goke has landed on their island to tease and torment them with some Dope alien powers.
The whole thing makes for an effective horror ride with out-dated but often extremely effective visual and special effects. There's more than a hint of allegory as well, with the violence and confusion of the world of 1968 portrayed through assassinations, bomb threats, corrupt politicians, corrupt arms dealers, and an American woman recently widowed by the Viet Nam War.
Goke, Body-Snatcher from Hell is rumoured to be a favourite of Quentin Tarantino. At the very least, he included a Goke-like scene in Kill Bill 1 that involved a jet flight and a lurid orange sky right out of Goke. Fun stuff. And a special award goes to the grotesque visualization of Goke entering and leaving a victim's body, along with a terrific ending. Recommended.
