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.
Rec 3: Genesis: written by Luiso Berdejo, David Gallart and Paco Plaza; directed by Paco Plaza; starring Leticia Dolera (Clara) and Diego Martin (Koldo) (2012): Enjoyable fake-found-footage Spanish horror movies Rec and Rec2 become a less enjoyable horror movie combining found footage and traditional narrative elements.
There are nice gory and goopy bits scattered throughout, but an awful lot of this is just rote zombie action set at a wedding. The interesting religious reveal at the end of the first Rec has become here a shovel hitting us in the face over and over again. Lightly recommended for people who have seen the first two and will see the fourth (and ostensibly final) installment.
The Big Sleep: adapted by William Faulkner, Leigh Brackett, and Jules Furthman from the novel of the same name by Raymond Chandler; directed by Howard Hawks; starring Humphrey Bogart (Philip Marlowe), Lauren Bacall (Vivian Rutledge), John Ridgely (Eddie Mars), Martha Vickers (Carmen Sternwood), Louis Heydt (Joe Brody), and Charles Waldron (General Sternwood) (1946): Perhaps the most indispensable hard-boiled detective film of all time -- only Chinatown rivals it, though The Maltese Falcon too has its champions.
Screenwriters Leigh Brackett (who would thirty years later work on the screenplay for The Empire Strikes Back) and Jules Furthman and Chandler's original novel supply most of the verbal fireworks, William Faulkner having wandered back to Oxford, Mississippi in the middle of screen-writing to drink, hang out with his wheelbarrow, and inspire Barton Fink. Virtually all the dialogue crackles with wit and substance; the plot is twisty but ultimately perfectly logical (though depending on which version you see, the mystery of the chaffeur's murder may or may not be fully explained).
The performances are stellar throughout, with lengthy reshoots a year after the original completion of filming to beef up the badinage between Bogart and Bacall. Hawks directs with his trademark rapid-fire dialogue, and the black-and-white cinematography is beautifully deployed by Syd Hickox. If for no other reason, one needs to see The Big Sleep to fully appreciate the Coen Brothers' gonzo homage/parody, The Big Lebowski, with its warped parallel characters and situations (and use of the word 'shamus'). Highest recommendation.
Poltergeist: written by Steven Spielberg, Michael Grais, and Mark Victor; directed by Tobe Hooper; starring Craig T. Nelson (Steve Freeling), JoBeth Williams (Diane Freeling), Beatrice Straight (Dr. Lesh), Dominque Dunne (Dana Freeling), Oliver Robins (Robbie Freeling), Heather O'Rourke (Carol Anne Freeling) and Zelda Rubinstein (Tangina) (1982): Stephen Spielberg essentially co-directed Poltergeist and controlled its post-production, and it shows: this is very much a mirror image of E.T., released within a week of Poltergeist in 1982.
Much of the early material with the family soon to be beset by vengeful spirits works pretty well; we're in Spielberg suburbia, where the Dad is distant (figuratively here; literally in other Spielberg films) and the Mother is the spiritual head of the family. The supernatural starts with what seems to be a furniture-moving poltergeist ("Noisy ghost") but soon moves into high-tech pyrotechnics, rubbery models, stop-motion trees, and large accumulations of skeletons rocketing up from the muddy ground.
I can't say the Spielberg kitchen-sink approach works all that well in horror -- indeed, many of the later effects here would be spoofed to a certain extent by Evil Dead 2. There are brief moments of wonder, but the Spielbergian need to underline every effect and every emotional sequence with music, flashing lights, and endless close-ups of people looking awestruck quickly dissipates that wonder.
One of the elements of the main plot -- the disappearance of the little girl from her own house into an alternate dimension, with only her voice being able to be heard in our dimension -- is lifted pretty much wholesale from the Richard Matheson short story and, later, 1962 Twilight Zone episode "Little Girl Lost." Besides being afraid of old Twilight Zone episodes, original story-writer Spielberg was also apparently scared of trees, his face melting, clowns, and really large faces. And getting trapped in a crowd of skeletons. It's amazing how many of the horror tropes here previously showed up in Spielberg's Raiders of the Lost Ark. Lightly recommended.
Quarantine 2: Terminal, written and directed by John Pogue, based on Quarantine, written by John Erick Dowdle and Drew Dowdle, which was based on REC, written by Jaume Balaguero, Luiso Berdejo and Paco Plaza; starring Mercedes Masohn (Jenny), Josh Cooke (Henry), and Mattie Liptak (George) (2011): Straight-to-DVD sequel to solid scarer Quarantine, which was itself a remake of the excellent Spanish horror movie REC.
This sequel abandons the first-person, found-footage approach of both Quarantine and the Spanish original for a more conventional narrative approach, one that's familiar whether you've seen it in Alien (1979) or Stagecoach (1939): a group of disparate strangers are trapped together in an enclosed space by menacing forces, in this case fellow travellers infected by the genetically engineered super-rabies of the first film.
The super-rabies spreads fast and makes its victims tremendously anti-social, much like texting. Who will survive and what will be left of them? The answer shades way more to the high-body-count Alien end of the dynamic than the Stagecoach end, where almost everyone survives. Like Alien, this one also involves a cat as one of the threatened.
A mid-sized passenger jet flight out of L.A. has unwanted passengers of both the rat and human variety. Hilarity ensues, as the super-rabies of the first movie makes its appearance while the plane is in the air, ultimately forcing an emergency landing in Kansas City. There, the plane is...quarantined!!! At a terminal!!!
Hence the title!!!
Much monstrous mayhem ensues. This isn't a great movie, but it delivers some scares and shocks and a couple of clever action-horror setpieces. The monsters are of the fast-zombie variety seen in the first, better Quarantine, though they're a lot easier to kill this time around. That's unfortunate, as the Pythonesque Black Knight quality of the original monsters was one of the more effective and horrific things in that film. Oh, well. Not great, but certainly an adequate time-waster, and superior to a lot of higher-budget horror movies of the last ten years. Lightly recommended.
