31 More Days of Horror: Christine (1983)

With great deft, director John Carpenter creates yet another classic horror film in Christine. He effortlessly builds a monster in an inanimate object. And what begins as a nerdy senior who buys his first car, a real beater, becomes a tale of obsession and fear.

Key to the film is Christine, the 1958 Plymouth Fury.  I haven’t experienced this much fear of an auto since seeing Spielberg's Duel earlier in the year. Surprisingly, the special effects used on Christine are slick, but oddly believable. Vengeful and jealous, Christine will stop at nothing to keep Arnie for herself, methodically eliminating those who would dare to hurt Arnie. Keith Gordan as Arnie is quite convincing. His evolution from nerd to cocky punk is brilliantly played with cold assuredness. John Stockwell as his best friend Dennis is perfect foil. Their dialogue inside Christine is a highpoint in the film. Dennis is petrified by fear for himself and his friend. Arnie gripped by madness seems unaffected.

Creating an atmosphere of terror and suspense, Carpenter plays the deaths well. The assault on Mooch is spine-tingling, but it’s the demise of Buddy that I remember most vividly—Christine on fire, gunning for buddy. *shivers* Arnie’s viciousness peaks alongside his car. The exchange with his father correlates beautifully with Christine’s plotting.

Who is brave enough to separate this man and machine? The final stand between the bewitched and the boy couldn’t be more intense.

Christine is a simple masterpiece thanks to Carpenter’s unfailing direction. He succeeds beautifully in blending modest effects, dialogue, and story into a haunting tale. Oh, not to be overlooked is the ever present, but almost subliminal scoring that never fails to deliver that extra frightening touch. They don’t make movies like this anymore.

31 More Days of Horror: John Carpenter's The Fog (1980)

Anything that opens with an Edgar Allen Poe quote has potential, but with director John Carpenter at the helm The Fog is so much more. Carpenter has created a creepy atmospheric ghost story in The Fog. Understated and eerie, the silhouetted revenge seeking century-old shipwreck victims turned villains provide efficient scares without the gore.

Opening with crusty old fisherman telling a ghost story to riveted children gathered around the campfire, Carpenter sets his audience up for the scare. A piece of driftwood surfaces and a glowing fog moving against the wind sets the tone.

A solid including Hal Holbrook, Janet Leigh, Jamie Lee Curtis and Adrienne Barbeau provide certain realism as residents of Antonio Bay. The town is preparing to celebrate their 100th birthday. Unbeknownst to township, the fog plans to drop in. Stevie Wayne (Barbeau) is the primary voice of our film as the local DJ. Each of the villagers adds a particular element of surprise, distain, and/or horror that is believable as they become prey for the watery phantoms.

Carpenter is content to build the tension slowly with wide shots of unpopulated expanse. As the fog envelopes the small hamlet, the chilling score ebbs and flows furthering the chill. The seaweed shrouded monsters success lies in the sounds and actions emitting, not the look. Carpenter is smart. You never actually see them. Rather you hear the distinct rap on the door and the particular squish of wet footsteps. The unfurling fog plays a character as well. Watching it swell around people, places, and things, the fog has uncanny finger-like tendrils that reach into the night. The suspense is unwavering and its release can’t come soon enough.

From the moment we discover the first body, The Fog is set to scare. With the addition of the cursed driftwood, we know something bigger it at hand. Though a humble and often forgotten production, John Carpenter’s The Fog is a truly terrifying masterpiece.

As I see it, this film alongside Halloween and The Thing will become an integral part—Carpenter’s trifecta—that is a must see around this time of year.

31 More Days of Horror: Session 9 (2001)

An asbestos removing crew is called into the Danvers State Mental Hospital. Phil (David Caruso) and Gordon lead a small team to remove the material a week. Unfortunately for them, Danvers State has some terrible secrets lurking. As Hank (Josh Lucas) begins removal downstairs, would-be lawyer Mike discovers a treasure trove of documents and interviews with former patients. Shared fascination with patient #444 leads every man unnerved.

Session 9 is a slow-burning, genuinely creepy psychologial thriller. It’s wonderfully atmospheric—set in a decaying, haunted building that once housed society’s rejects.  Writer/director Brad Anderson's uncompromising touch makes this one smart.

We don’t know everything about these blue collar workers, but from moment the job begins, we suspect something’s not right. What, we can’t quite pin down. But as the week progresses, each man begins to suffer the effects of Danvers State.  The derilict building is alive. An unexplainable tension that threatens to drive everyone—including the viewer—to the brink of insanity. And that’s only the beginning.

Two pivotal scenes evoke bone-chilling horror. Hank discovers old silver coins in the corner of one of the lower corridors. Knocking out the brick, coins, rings, bracelets, dentures, and glass eyes come pouring out. He doesn’t figure out he’s discovered the backside of the crematorium. In the other, Jeff is being chased by palpable darkness.

I hestitate to say more as the film’s success is in what you don’t see coming. As Mike’s obsession with patient #444 becomes more apparent and the cognizant viewer recognizes the parallels, the damage is complete and Anderson sets the stage for a truly disturbing climax.

Session 9 is an original, haunting film that you won’t be able to get out of your head. It’s ambiguitity requires the audience to think and maintain awareness because your life depends on it. There is no monster to be found in the dark, decaying corridors of Danvers State. But something is there and with every ‘OS’ moment, we get closer to it.

31 More Days of Horror: Drag Me to Hell (2009)

Set in modern day—I know, scary enough, the story follows the results of an up-and-coming loan officer Christine (Alison Lohman) who turns down an extension request made by a creepy Gypsy woman. An altercation in the parking garage convinces Alison that she has been cursed. A consultation with a psychic confirms it. Christine has three days. With the help of her boyfriend (insufferable Justin Long) and the psychic, Christine will try to keep her soul from being dragged to hell.

If you’ll check your common sense at the door, Drag Me to Hell is a solid scare. The main trouble with this one is Sam Raimi. He can build an effective thrill, a top-notch scare, a mind-boggling protagonist—but he always seems to temper it an overdosing portion of cheese. As a director Raimi consistently frustrates me because he builds the horror perfectly then kills it with humor.

The haunting of Christine is wonderfully creepy. The special effects are crazy good—the gypsy in particular. Whether it’s something tangible like a fly or the spirit realm, Raimi delivers the goods, but not the plot. Grab the popcorn and get set to scream!

As I mentioned yesterday, Drag Me to Hell is based on the 1957 classic Night of the Demon. While it’s not necessary to have seen the B&W version to enjoy this—Raimi spells it out—I do think a certain edge is maintained if you’ve seen the original. Regardless Drag Me to Hell is just the movie you want to see this time of year.

31 More Days of Horror: Night of the Demon (1957)

Curse of the Demon and its better British counterpart, Night of the Demon is a classic bit of horror. It’s the story of a crazed cult leader/magician who curses a psychology professor—and the inspiration for this year’s Drag Me to Hell. Dr. Holden (Dana Andrews), gentleman scholar and man of science dismisses the whack job and continues the investigation of the magician’s cult. An unwarranted slip of parchment is the death knell.

Unlike most horror films, director Jacques Tourneur exposes the demon almost immediately. Given the period, the demon is remarkably well presented. The director then spends the remainder of his time advancing the darkness keeping our stoic protagonist and the viewers on edge as we investigate the supernatural. We’ve seen the demon and it is scary, but it’s the other creeping events that really thrill.

The B&W production plays head games with the viewers. Long dark corridors are filled with lurking shadows. The wind seems colder and the night is longer than ever before. Alongside intelligent dialogue and characterization, the series of eerie events culminate for a thrilling end. A malevolent score further cements the fright.

The cult leader and his crazy mom help in one of the tersest scenes. At the request of Dr. Holden, a séance is held. Calling back Dr. Holden’s dead colleague leads to a bone-chilling accusation. See the film for this sequence alone.

Beautifully atmospheric, Night of the Demon simply asks it’s viewers to discern reality from imagination. But with the tempest at hand, that task is easier said than done.