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Thursday, May 21, 2015

Strays (1991) (TV)

... aka: Killer Cats

Directed by:
John McPherson

I love cats. I love horror. Then I should just eat up a horror film centered primarily around killer cats like a can of tuna, right? Well, I was hoping that'd be the case but sadly it wasn't meant to be. Strays, which debuted on the USA cable network, is neither good nor campy nor entertainingly bad. It's sometimes slightly amusing in a "Well that's ridiculous / stupid..." kind of way but mostly it's just a bland, talky TV movie about a bickering yuppie couple, their lame marital / financial problems and their "precious" and "adorable" 4-year-old daughter, who is neither precious nor adorable and will have you hoping and praying she becomes a toddler scratching post by the end of the film. I have a 4-year-old niece and she's beautiful, awesome and smart, unlike the stupid little troll featured in this movie, who gives all 4-year-old's a bad name. During one of the few "scary" moments, the surprised mother walks into her girl's nursery and sees her crib (why is a 4-year-old still sleeping in a crib?!) filled with about twenty cats. Initially I burst out laughing and said "Yes!" but my joy was quickly stripped away as each cat was removed and there was no sign of a bloodied, shredded child's corpse underneath. Does that make me a bad person?








Things open with an amusing low-level cat's POV shot (done in just two takes) that begins outside, trails through the woods, moves all the way around a house, up a flight of stairs and through a doggy door. It then heads through a kitchen up to an empty food bowl, under a chair and under a table, then leaps up on an ottoman and finally onto a fireplace mantle. It's actually a pretty cool shot but alas it's also the best part of the entire movie. We then meet an old cat lady (Eve Brenner) who lives in a large country home with her dozens of "babies." Something eventually rushes up to her as she's exiting the cellar and kills her. The house is put up for sale and purchased by divorce lawyer Paul Jarrett (Timothy Busfield) and his unsuccessful writer wife Lindsey (Kathleen Quinlan), who want out of the big city so they can raise their whiny little abortion Tessa (Heather and Jessica Lilly) in the safety and tranquility of the country. That little fantasy doesn't last long.








Due to neglect and being forced to resort to their natural instincts in order to survive, the cat lady's once-docile fur-balls have transformed into an army of feral felines who aren't above attacking and killing people who invade their territory. In a silly twist, the cats are all seemingly led by a gray "Alpha Cat" that hunkers over, does that low growl a lot and looks just like the cat who played Church in Pet Sematary. In between the few attack scenes, we have to listen to the dad whine about wrecking his car after a cat bounces off the windshield, whine about his allergies flaring up, whine about his wife wanting to keep a nice mama cat and a kitten she finds in the attic and whine about their supposed financial problems. Said financial problems seem to end a scene after they're discussed when the husband tries to smooth things over with his wife by buying her a piece of expensive jewelry. A vet (William Boyett) shows up long enough to stupidly claim that feral tabbies are more dangerous than wildcats and, to buffer out the slim story line, the film's major drama doesn't even involve the cats at all, but Lindsey's divorcée sister Claire (Claudia Christian), who seems to be making sexual advances on her brother-in-law because, well, she's basically a backstabbing slut.








All of the major characters in this one are thoroughly unlikable, which is due more to the script (by Shaun Cassidy of all people) than the actors themselves. Further exacerbating the problem is having a small child in a major role, which pretty much ensures two predictable and extremely annoying things are about to happen: 1. They'll use the kid to try to be cutesy and that will make most people want to wretch, and 2. The child will do numerous incredibly moronic things to ensure the adults are needlessly put into dangerous situation. And boy does this kid ever do the dumbest kid things imaginable at the finale, including going right back into the same cat-infested house she was almost killed in minutes earlier after being told specifically not to. Ugh. The cats themselves are amusing when they're on screen but the director has no clue how to really make them menacing. They're mostly just cute. Even when they're "attacking" and killing people they're cute. There's more "Aww" than "Ahhhhh!!!" Not really a good sign for a film like this.

★1/2

Sunday, May 17, 2015

Visiting Hours (1982)

... aka: Fright, The
... aka: Get Well Soon
... aka: Horror Hospital
... aka: Terror at Central Hospital, The
... aka: Terror at the Hospital

Directed by:
Jean-Claude Lord

After a heated TV press conference, feminist journalist and non-violence advocate Deborah Ballin (Lee Grant) returns home to find her house guest dead and sweaty, woman-hating, stress-ball-squeezing psycho Colt Hawker (Michael Ironside) ready to slash her to ribbons. After being stabbed twice, Deborah manages to get the attention of her neighbors and Colt flees. She's taken to County General Hospital, where she awaits surgery on her injured arm, while Colt decides to finish the job he wasn't able to complete earlier by continually sneaking his way back into the hospital and attacking her. Several other women inadvertently become involved, including sweet nurse Sheila (Linda Purl), a divorced single mother of two, and Lisa (Lenore Zann), a loose-living party girl who Colt takes home and beats severely, but lets live. Colt's homicidal misogyny is explained by a series of brief flashbacks that involve his mother flinging a pot of hot oil into his father's face, which of course has made him a maladjusted and impotent man who detests strong, independent women... just like Deborah.






Visiting Hours has a lot going for it, especially in comparison to other films of this type from the early 80s. For starters, the budget was relatively high for a change, affording this very glossy production values and cinematography. The cast is more than competent, with Oscar-winner Grant as an atypically headstrong and authoritative middle-aged lead in a subgenre usually dominated by teen virgins in the central role. Though Deborah's not particularly likable or sympathetic, Purl's strong working class supporting character is and helps to balance that all out. Genre regular Ironside (who landed this part because of his memorable performance in Cronenberg's Scanners [1981]) also does an effective job playing the intense, creepy psycho, while William Shatner is given nothing to really do as Grant's agent. The script is quite ambitious as well in its attempt to bridge the gap between exploitative, disreputable slasher flicks and more socially-conscious thrillers. And yet all the above combined cannot save this film because it becomes an implausible mess after the first 20 or so minutes. That's a true shame considering the opening scenes offer up a few good scares and some genuine suspense.





What partially killed this film for me is its incompetent portrayal of the hospital staff and the police. The psycho manages to get into the hospital and has full access to Grant no less than four different times. Once? Sure. Twice? Highly unlikely, but possible. After that it's just plain absurd. The first time he poses as a florist and kills a patient and a nurse who are in the room Deborah was originally supposed to be in. Instead of informing her her life is in danger, the staff instead keep it a secret and she has to find out secondhand from another patient about what's going on. The killer then sneaks in a second and a third time, killing people each time he's there, but nothing much is done. My question is: Where the hell are the security guards in this film? That's right, they're all hanging out in the downstairs lobby and none happen to be on the same floor people keep getting attacked on. At one point, Shatner's character assuredly tells Grant not to worry after several murders because "They've got a great security system here," which literally made me laugh out loud. He deserves some kind of award for being able to say that line with a straight face.






Any patient in the same predicament - let alone a celebrity patient like Grant's character - would not only have several armed guards posted right outside her door at all times, but also guards in each hallway of the floor she's on monitoring who comes and goes. Not only that, but the hospital would have guards patrolling the outside perimeter of the hospital and ones in front of each and every door of that place considering the murders that keep occurring there. I also couldn't figure out why there was no attempt to relocate Deborah; if not to a new hospital entirely (she just has an injured arm for Christ's sake!) but to another floor or even another room. Of course if this film used even the most basic of logic, there may not be a film at all. Then again, is that really such a bad thing considering how stupid this thing turned out?





Unfortunately, the idiocy isn't just confined to inept security, but is liberally spread through the rest of the film as well. Shatner's character manages to convince Grant to stay in the hospital just one more night by saying he won't leave her side and then in his very next scene is off at another location doing something else entirely. Toward the end, Purl's character gets a phone call from the psycho, who's at her home. With her children's lives in danger and knowledge of the psycho's whereabouts, she gets flustered and babbles some frantic, incomprehensible gibberish to one officer before rushing home all by herself! She could have simply said "Hey, the killer is at my house RIGHT NOW, how about you gather up a few dozen men and follow me over?" Nope, instead she rushes home in a panic and needlessly gets herself stabbed. This is followed by Colt getting into Grant's room yet again and chasing her around through empty corridors because we've already established the staff and police don't seem to care that people are being murdered right and left in this place. I can handle a few dumb moments in my horror films, but this simply has far too many of them.






I've noticed a few defenders of this film pointing out that one shouldn't get too caught up in details because it's "just a horror movie." And to that I say "Precisely!" This is indeed just a horror movie. It's not a good horror movie or a memorable horror movie or a thought- provoking horror movie. It's just another horror movie lost in a faceless sea of other poorly-conceived and forgettable ones from the slash-happy early 80s. And there's a good reason Visiting Hours isn't highly-regarded among most horror and slasher fans: It's slow-moving and takes itself completely seriously yet is too implausible to even be believable.

★★

Friday, May 15, 2015

The 2015 Orloks - 1945 Results

Started many moons ago by Prof-Hieronymos-Grost, the Orloks were a yearly poll on the IMDb horror boards where users submitted Top 5 lists of their favorite horror movies for each year. All of the results were then tabulated to come up with a definitive list of the year's most-liked genre offerings. Alas, when the good Professor decided to depart the boards years ago, the awards went with him... that is until now. IMDb-er seth_yeah - taking on responsibilities as both host and calculator - has decided to bring back this long-standing tradition in 2015, and now the awards will have a permanent place right here on this blog. Scoring is rather simple and done on a weighted system where first choice receives 5 points, second choice 4 points, etc., with a +1 bonus then awarded to the #1 selection on each list. IMDb release years are being used, but it is left up to voters to determine what they may or may not consider horror (which may be in conflict with IMDb's genre labeling system). If you'd like to participate, head on over to the IMDb HORROR BOARDS to vote! So without any further ado, the results...

_________________________________________________________________________________

1945
Top 5
* * * * * * * * * *
1. The Body Snatcher
USA / 60 points / Robert Wise
* * * * * * * * * *
2. Dead of Night
UK / 58 points / Alberto Cavalcanti, Charles Crichton, Basil Dearden, Robert Hamer
* * * * * * * * * *
3. The Picture of Dorian Gray
USA / 30 points / Albert Lewin
* * * * * * * * * *
4. The Spiral Staircase
USA / 29 points / Robert Siodmak
* * * * * * * * * *
5. Isle of the Dead
USA / 21 points / Mark Robson

_________________________________________________________________________________

Making the Top 10:

6. Hangover Square / USA / 20 points / John Brahm
7. Woman Who Came Back / USA / 6 points / Walter Colmes
8. And Then There Were None / USA / 5 points / René Clair
9. (tie) House of Dracula / USA / 3 points / Erle C. Kenton
9. (tie) Place of One's Own, A / UK / 3 points / Bernard Knowles
9. (tie) Strange Confession / USA / 3 points / John Hoffman
10 (tie) Fog Island / USA / 1 point / Terry O. Morse
10. (tie) Pillow of Death / USA / 1 point / Wallace Fox
10. (tie) Vampire's Ghost, The / USA / 1 point / Lesley Selander

_________________________________________________________________________________

Others receiving votes:

-

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Links here will be connected when the time comes.

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