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.
The Nun (2018): written by Gary Dauberman and James Wan; directed by Corin Hardy; starring Taissa Farmiga (Sister Irene), Demian Bichir (Father Burke), and Jonas Bloquet (Frenchie): A minor entry in The Conjuring franchise gives us an origin story for the Evil Nun who shows up repeatedly in that franchise. Short story, it's a demon named Valar. Long story... it's a demon named Valar!
It's 1952 and Vatican trouble-shooter Father Burke and novitiate Sister Irene travel to Romania to investigate whether or not a convent/abbey has fallen from Grace. Boy, has it ever! With some help from a local French-Canadian played by a Belgian actor and nicknamed 'Frenchie'* (whew, the creativity), they do battle with the Forces of Evil.
The movie occupies an uneasy and often counter-productive realm between the Roman Catholic horrors of The Exorcist and the demon zombies of the Evil Dead franchise. It all really becomes quite silly, especially once a holy relic containing some of the blood of Jesus Christ shows up. The demon's powers wax and wane according to the plot -- it can seal someone in a grave and bury them, for example, but its minions can be dispatched by ax and shotgun.
Taissa Farmiga is as cute as a button as novitiate and later Sister Irene, sent to fight evil because she had visions as a child. Demien Bichir does what he can with his underwritten priest. Frenchie is, well, Frenchie. What, there were no real French-Canadians available? A few effective jump scares are about all the horror this entry has to offer. Not recommended.
* Alas, not the Jon Lovitz character.
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| I'm Frenchie ! |
Hereditary (2018): written and directed by Ari Aster; starring Alex Wolff (Peter), Gabriel Byrne (Steve), Toni Collette (Annie), and Milly Shapiro (Charlie): As in The Shining or The Exorcist, Hereditary puts a family under malign supernatural pressure and sets the burner to 'Boil.'
Things start slowly but eerily. You get a somewhat weird adolescent daughter (a terrific, odd Milly Shapiro). You get a stressed-out Mom (Toni Collette, superb as usual). You get a well-meaning but somewhat ineffectual Dad (Gabriel Byrne, channeling Donald Sutherland in Ordinary People). And you get a really stressed out teen-aged son (Alex Wolff).
Around the 40-minute mark, something awful happens. Is it just random, horrible luck? Is the supernatural at work here or are we seeing a family whose members -- especially mother and son -- have serious, unresolved psychological issues?
Well, the next 80 minutes or so provide the answer to those and other questions. Hereditary does a nice job of eventually inverting our assumptions about who or what is responsible. It also has more beheadings than A Tale of Two Cities. Along with graveyard robbing, naked cult members leering from the shadows, mysterious lights, impotent authorities, ghostly drawings and writings, people burning alive, and so on, and so forth.
Told in an almost stately, deliberate manner, Hereditary nonetheless traffics in the stuff of Gothic nightmares as it draws to its tense conclusion. It may be too deliberate for some -- I found it exhilarating. I hope to see more from writer-director Ari Aster. He treats both the horror genre and the tropes he used with respect and diligence. Highly recommended.
Truth or Dare (2018): written by Michael Reisz, Jillian Jacobs, Christopher Roach, and Jeff Wadlow; directed by Jeff Wadlow; starring Lucy Hale (Olivia), Tyler Posey (Lucas), Violett Beane (Markie), Hayden Szeto (Brad), Sophia Ali (Penelope), Nolan Funk (Tyson), and Landon Liboiron (Carter):
So-so horror flick from the ubiquitous Blumhouse. Most of the cast is way older than the early 20's college students they play, a sometimes-distracting fact. A game of Truth or Dare turns supernaturally deadly because of a mysterious supernatural force.
I think the message of the film is 'Don't vacation in Mexico,' or maybe 'Don't play stupid teen-aged games in a sinister, abandoned church in Mexico.' Certainly an adequate time-waster, though even at a bare 90 minutes it feels about 15 minutes too long. Lightly recommended.
Veronica (2017): written by Fernando Navarro and Paco Plaza; directed by Paco Plaza; starring Sandra Escacena (Veronica), Bruna Gonzalez (Lucia), Claudia Placer (Irene), Ivan Chavero (Antonito), Ana Torrent (Ana), and Consuelo Trujillo (Hermana Muerte):
Set in 1991, Veronica is vaguely inspired by a 'true story.' It's about as truthful as The Exorcist -- the events of the film are entirely the invention of the Spanish director/co-writer best known for the found-footage horror film REC.
The real events involved the death of a young woman. So even with the names changed and the events leading up to that death entirely invented, there's more than a whiff of exploitation to the film. That's too bad. It's a solid supernatural thriller with a sympathetic teen-aged protagonist (Veronica, that is). Traumatized by the recent death of her father and overwhelmed by doing the majority of the care-giving for her three younger siblings, she's gradually going adrift.
And then she and two friends decide to consult a Ouija board.
During a solar eclipse.
Oops.
And there's also a somewhat sinister, elderly, blind nun at Veronica's school who warns her of tampering with the supernatural. Too late!
The result is a movie that conveys creeping, escalating dread quite nicely. Though it's no wonder there's a blind nun at the school -- the protocols the school follows for watching that eclipse would result in a whole lot of visually impaired school children. It's a pretty distracting sequence, really, because it's born of inadequate research and not intentional horror.
Boy, do those nuns not understand how the sun during an eclipse works! Maybe they should have consulted a Ouija board! Recommended.
The Bone Key: The Necromantic Mysteriess of Kyle Murchison Booth (2007/ 2nd edition 2011) by Sarah Monette; containing the following stories:
- Introduction by Sarah Monette
- Introduction to the Second Edition by Lynne M. Thomas
- Bringing Helena Back (2004)
- The Venebretti Necklace (2004)
- The Bone Key (2007)
- Wait for Me (2004)
- Drowning Palmer (2006)
- The Inheritance of Barnabas Wilcox (2004)
- Elegy for a Demon Lover (2005)
- The Wall of Clouds (2003)
- The Green Glass Paperweight (2004)
- Listening to Bone (2007)
- Story Notes by Sarah Monette (2007)
Overall: A well-written, revisionist 'nod' to the hermetic narrators and haunted academics in the works of H.P. Lovecraft and M.R. James. Monette notes in the introduction that she wanted to bring psychological realism and more fully realized characters to stories in the tradition of M.R. James and H.P. Lovecraft.
She succeeds in terms of psychological realism and character-building, with the caveat that it seems to me that Lovercraft was far better at characterization when a story called for it than Monette's dismissive evaluation suggests. Oh, well.
Our first-person narrator is Kyle Murchison Booth. He lives somewhere in New England in the first half of the 20th century in an unnamed city. He works as an archivist of rare books and documents at a fictional museum. He has a tormented family past. In his early 30's in the first story, he's morbidly shy, agoraphobic, and a closeted homosexual who seems to be a virgin when the book opens.
Booth checks a lot of the boxes for various characters in James and Lovecraft. Whether any of James' or HPL's characters were closeted homosexuals is a matter of interpretation. In any case, Booth is a sympathetic fringe figure, albeit one locked in personality stasis for much of the ten stories. He's pretty much the same character at the end as the beginning, though he's got a little better at dealing with the supernatural because the supernatural is what he deals with over those ten stories.
The horror elements are where the stories generally disappoint. In riffing on a variety of standard tropes, the stories often lack both actual horror and a sense of the unusual or new. We open with a demon-raising gone wrong in the way demon-raisings pretty much always go wrong. We have ghosts, bodies sealed behind walls for years, a poltergeist, a ghostly memory, a ghost whose attempts to kill people are really sort of pathetic, an incubus, and an evil paperweight.
OK, I like the paperweight, though as its victim is a dick, one doesn't feel much horror about the whole thing. So, too, the fate of several other victims of the supernatural. If the supernatural kills a lousy person, does anyone care? The most M.R. Jamesian story in the collection, "The Inheritance of Barnabas Wilcox," suffers from a similar problem. The supernatural ends up seeming like comeuppance for venial sins in this story and others. It's a sort of EC Comics-lite.
Throughout, though, the characterization of Booth makes him a compelling narrator. His isolation and self-loathing are the real horrors here, to the extent that the supernatural could be eliminated from the stories without any real loss of narrative power. This is a good collection. As horror is a subjective quality, you may find it scarier than I did. Recommended.
Pyewacket (2017): written and directed by Adam MacDonald; starring Nicole Munoz (Leah Reyes), Laurie Holden (Mrs. Reyes), Chloe Rose (Janice), and Eric Osborne (Aaron): Enjoyable horror movie filmed in Canada's new horror hotbed, demon-haunted Sault Ste. Marie pretending to be New England (see also The Void).
Once you get over the fact that mother and daughter (played by Laurie Holden and Nicole Munoz) look nothing alike, the movie works for the most part. The daughter is clearly meant to look more like her deceased father than her mother so as to be a constant reminder of the mother's dead husband -- there is dialogue to that effect. But this is a bit too much, so much too much that I half-expected the mother to yell "You're not my daughter!" at some point.
Nicole Munoz plays Leah as the most wholesome-looking Goth ever, as are her three high-school friends. They're all into a Providence horror writer who apparently puts working spells in his novels. Say what you will about Stephen King, but he never did that!
So in a fit of adolescent angst (or possibly sociopathic behaviour), Leah calls upon the demon Pyewacket to kill her mother. Then she regrets it and tries to send the demon back before it kills her mother. Oops.
Pyewacket is a 'real' demon name, by the way. I'd previously run across it in the Kim Novak witch-romantic comedy Bell, Book and Candle (1958), also starring Jimmy Stewart. There, Pyewacket is Novak's cat/familiar.
The acting from the principals (there aren't many principals) is solid throughout. And there are some genuine scares, not all of them jump-scares. The film-makers keep most of the horror off-screen, and there's very little overt violence. The movie seems to make it clear that the supernatural is 'really' happening, but it does leave some room for doubt in the old Turn of the Screw manner. How much doubt depends on whether a viewer believes certain shots to be objective camerawork or subjective visions by Munoz's character.
Not a great movie, but the second half makes up a lot for the slowness of the first half, with the last ten minutes really singing. The filmmakers seem to me to have a lot of promise. And Pyewacket barely clocks in at 90 minutes, so it doesn't wear out its welcome. Lightly recommended.
