Montreal detective Henderson (Christopher Plummer) investigates the death of prostitute Elizabeth Lucy (Karen Black), who had a little help falling from a penthouse balcony.
The film makers play with the time continuum as we see Henderson doggedly find out more about Elizabeth and discovers other murders, and at the same time we relive Elizabeth's final hours, seeing her deal with her eventual murderer as part of a satanic black mass.
Plummer is excellent. His Detective Henderson is not a "Die Hard"-type superhero, just a homicide detective doing his job. This could have made an excellent film series, especially set in an interesting city like Montreal, Canada. Black turns in a great performance as Elizabeth Lucy, a heroin addicted prostitute getting in way over her head. She tries to help another friend get off heroin, but Elizabeth is no hooker with a heart of gold, she is a flawed mess of emotion, and Black is great. The finale seemed just a little too neat and tidy, and the horrific aspects of the story do not really deliver.
Jeers to Prism Entertainment, who released the VHS version I saw. The print was very muddy, with the front credits being completely unreadable, and the first few minutes of the film impossible to comprehend. Anytime the film takes place in anything other than daytime, it is hard to see what is going on. The video box I saw featured Black half-clothed on the cover, and the box notes talking this up for its "prostitution, drug abuse, and homosexuality." Yes, there is a prostitute, she is on drugs, but she is not gay. There is one homosexual supporting character, but no onscreen sexual content. He just mentions it to Henderson. Reading the box, you would think you need a shower when the end credits finally rolled (which you can read).
"The Pyx" is suspenseful and entertaining, and hopefully you can find a decent copy of it. I strongly recommend it.
Thursday, April 23, 2026
Phantom of the Opera (1943)
While the word "phantom" is in the film's title, the filmmakers here must have decided a mere horror film was beneath them. Suspense and tension are jettisoned in favor of weak romantic comedy and backstage politics.
Christine (Susanna Foster) is the new singer at the opera, her classes being paid for anonymously by Erik (Claude Rains). She is also being wooed by police inspector Raoul (Edgar Barrier) and the opera's baritone Anatole (Nelson Eddy). The two make like Abbott and Costello- goofballs when around the beautiful Christine...oh, yeah, the Phantom plot.
Erik has been with the Paris Opera House for twenty years. He is broke, paying for Christine's lessons. The orchestra's maestro lets him go because his playing is no longer up to snuff. Erik is threatened with eviction, and takes his original concerto to a music publisher. He hears it being played, and adored, but mistakes this as meaning it was stolen, and kills a publisher before an assistant throws acid in his face. Scarred and screaming, he runs into the sewers of Paris, and the catacombs under the Opera House. He steals the master pass key, and can let himself into any section of the massive venue.
Erik is now insane, making sure nothing will stop Christine from singing onstage. He resorts to poisoning the show's diva Biancarolli (Jane Farrar), who promptly has Christine removed from the production all together. Soon, Erik murders again, and Anatole and Raoul team up to save the woman they have fallen in love with.
This version of the well known story may be the most suspenseless. That may not be a bad thing, I have never read Gaston Leroux's source novel, but the film makers make things worse by padding the running time. The film is only ninety three minutes, yet the opera sequences go on FOREVER. Eddy was a screen idol back then, and he is obviously the main character here.
In addition to all the opera scenes, the goofy romantic subplot is embarrassing. There are no laughs, and the lightness of the romance sucks any tension out of the Phantom plot, now reduced to a secondary story. Director Lubin comes up with no suspense, but the art direction is superb, especially the cavernous underground Phantom dwellings. There are a few too many insert shots of the Phantom twirling his cape and running off camera, and the famous chandelier scene is unbearably long. Rains is wonderful, until he puts the mask on and is reduced to bit supporting player. The rest of the cast, including a young Hume Cronyn, is relegated to the dorky romantic comedy plot, all the murders occur offscreen.
"Phantom of the Opera" does nothing for the horror genre. It actually does nothing for the romantic comedy or opera genres, either. I was very disappointed, the creaky silent version is still a better film.
Christine (Susanna Foster) is the new singer at the opera, her classes being paid for anonymously by Erik (Claude Rains). She is also being wooed by police inspector Raoul (Edgar Barrier) and the opera's baritone Anatole (Nelson Eddy). The two make like Abbott and Costello- goofballs when around the beautiful Christine...oh, yeah, the Phantom plot.
Erik has been with the Paris Opera House for twenty years. He is broke, paying for Christine's lessons. The orchestra's maestro lets him go because his playing is no longer up to snuff. Erik is threatened with eviction, and takes his original concerto to a music publisher. He hears it being played, and adored, but mistakes this as meaning it was stolen, and kills a publisher before an assistant throws acid in his face. Scarred and screaming, he runs into the sewers of Paris, and the catacombs under the Opera House. He steals the master pass key, and can let himself into any section of the massive venue.
Erik is now insane, making sure nothing will stop Christine from singing onstage. He resorts to poisoning the show's diva Biancarolli (Jane Farrar), who promptly has Christine removed from the production all together. Soon, Erik murders again, and Anatole and Raoul team up to save the woman they have fallen in love with.
This version of the well known story may be the most suspenseless. That may not be a bad thing, I have never read Gaston Leroux's source novel, but the film makers make things worse by padding the running time. The film is only ninety three minutes, yet the opera sequences go on FOREVER. Eddy was a screen idol back then, and he is obviously the main character here.
In addition to all the opera scenes, the goofy romantic subplot is embarrassing. There are no laughs, and the lightness of the romance sucks any tension out of the Phantom plot, now reduced to a secondary story. Director Lubin comes up with no suspense, but the art direction is superb, especially the cavernous underground Phantom dwellings. There are a few too many insert shots of the Phantom twirling his cape and running off camera, and the famous chandelier scene is unbearably long. Rains is wonderful, until he puts the mask on and is reduced to bit supporting player. The rest of the cast, including a young Hume Cronyn, is relegated to the dorky romantic comedy plot, all the murders occur offscreen.
"Phantom of the Opera" does nothing for the horror genre. It actually does nothing for the romantic comedy or opera genres, either. I was very disappointed, the creaky silent version is still a better film.
Redland (2009)
While a plot summary can be straightforward, this film is anything but.
The director, Asiel Norton (who co-wrote this with the film's producer, Magdalena Zyzak), set out to shoot a cinematic dream, and succeed. Thanks in large part to cinematographer Zoran Popovic, this film quickly gets inside your head and shakes things about. I would compare it favorably to the 1970's output of Stanley Kubrick, Ingmar Bergman, or Terrence Malick. Every image looks like a hand-tinted old photograph come to life. The characters are covered in grime and dirt, suffering from starvation and rural boredom.
The film is frustrating. I didn't like the characters, couldn't quite make sense of things, and felt as isolated and out-of-sorts as the film's family. The sound design and music, both from T.K. Broderick, seemed determined to increase my unease, which they did. Just as in real life, dialogue is understood in snippets. I realized Norton was taking a snapshot of life in these creepy woods, which become a character as well, and the viewer may begin questioning the entire hero/villain, good/evil paradigm as they witness these people do what they must to survive.
Just like "The Passion of the Christ" or "Saving Private Ryan," this is not a popcorn-munching flick, constantly interrupted by trips to the bathroom or cell phone calls. This film doesn't simply ask you "what would you do in this situation?," Norton's direction puts you in the situation shown, where simple answers to stock characters' dilemmas are difficult to come by. There is one sequence near the end of the film, you will know it when you see it, that is so heartbreaking and so repulsive at the same time, I had problems watching it, yet Norton keeps your eyes on the screen, witnessing the horror.
The cast is so good, I cannot believe they were acting. I kept wondering if every shot of the film was planned, or did Norton and his crew happen upon some impressive footage they were able to utilize during editing? Either way, your eyes will dart all over the screen, trying to take every shaded detail in.
"Redland" is difficult. You won't want to go running down to the nearest coffee joint afterward to gab about it, it will stay with you, asking you the very same questions it asks of its characters. In this computer generated day and age, it's a throwback to intelligent filmmaking, and it's brilliant.
The director, Asiel Norton (who co-wrote this with the film's producer, Magdalena Zyzak), set out to shoot a cinematic dream, and succeed. Thanks in large part to cinematographer Zoran Popovic, this film quickly gets inside your head and shakes things about. I would compare it favorably to the 1970's output of Stanley Kubrick, Ingmar Bergman, or Terrence Malick. Every image looks like a hand-tinted old photograph come to life. The characters are covered in grime and dirt, suffering from starvation and rural boredom.
The film is frustrating. I didn't like the characters, couldn't quite make sense of things, and felt as isolated and out-of-sorts as the film's family. The sound design and music, both from T.K. Broderick, seemed determined to increase my unease, which they did. Just as in real life, dialogue is understood in snippets. I realized Norton was taking a snapshot of life in these creepy woods, which become a character as well, and the viewer may begin questioning the entire hero/villain, good/evil paradigm as they witness these people do what they must to survive.
Just like "The Passion of the Christ" or "Saving Private Ryan," this is not a popcorn-munching flick, constantly interrupted by trips to the bathroom or cell phone calls. This film doesn't simply ask you "what would you do in this situation?," Norton's direction puts you in the situation shown, where simple answers to stock characters' dilemmas are difficult to come by. There is one sequence near the end of the film, you will know it when you see it, that is so heartbreaking and so repulsive at the same time, I had problems watching it, yet Norton keeps your eyes on the screen, witnessing the horror.
The cast is so good, I cannot believe they were acting. I kept wondering if every shot of the film was planned, or did Norton and his crew happen upon some impressive footage they were able to utilize during editing? Either way, your eyes will dart all over the screen, trying to take every shaded detail in.
"Redland" is difficult. You won't want to go running down to the nearest coffee joint afterward to gab about it, it will stay with you, asking you the very same questions it asks of its characters. In this computer generated day and age, it's a throwback to intelligent filmmaking, and it's brilliant.
Phone Booth (2002)
After directing two films that ended the "Batman" film franchise for a few years, Joel Schumacher dressed up a Larry Cohen script and turned in a great suspenseful thriller.
Stu (Colin Farrell) is a wheeler-dealer PR guy pushing C-list celebs into A-list fame. His life revolves around lying. He uses a pay phone every day to call wannabe actress Pam (Katie Holmes), a girl he would rather sleep with without his wife Kelly (Radha Mitchell) finding out. After calling Pam and promising her the moon all over again, Stu gets a new call at the title booth. It seems the Caller (Kiefer Sutherland, sounding like Vincent Price) has been watching Stu. He knows Stu's habits, he knows Stu's lies, and he knows how to use the high powered rifle aimed at Stu's head. Soon, the Caller begins playing God, trying to get Stu to admit past sins as earnest police captain Ramey (an always good Forest Whitaker) tries to keep the media crisis from resulting in more sniper death.
Larry Cohen's script recalls filmdom's pre-9/11 New York City. Stu is hassled by a bunch of obnoxious hookers before the Caller kills their pimp. The location is gritty and realistic, a New York City we have not seen onscreen in much too long. Schumacher's direction is nothing short of genius. He does not show off with the camera, but keeps things rocketing along at a brisk and brief eighty-three minute pace.
I have never been a fan of screenwriter Cohen, the scariest thing about the "It's Alive" series is its undeserved cult reputation, but his one good idea here turns great with the right cast and director. Farrell plays Stu flawlessly. Holmes and Mitchell are both good at wringing their hands and looking worried, and Whitaker is great as a smart cop trying to help Stu out. Sutherland deserves special mention for his voice work, he does bad with the best of them.
Most thrillers let the audience down at the climax after blowing its wad getting the suspense set up, "Breakdown" comes to mind, but "Phone Booth" follows through to a supreme ending, and serves as a pleasant surprise.
Stu (Colin Farrell) is a wheeler-dealer PR guy pushing C-list celebs into A-list fame. His life revolves around lying. He uses a pay phone every day to call wannabe actress Pam (Katie Holmes), a girl he would rather sleep with without his wife Kelly (Radha Mitchell) finding out. After calling Pam and promising her the moon all over again, Stu gets a new call at the title booth. It seems the Caller (Kiefer Sutherland, sounding like Vincent Price) has been watching Stu. He knows Stu's habits, he knows Stu's lies, and he knows how to use the high powered rifle aimed at Stu's head. Soon, the Caller begins playing God, trying to get Stu to admit past sins as earnest police captain Ramey (an always good Forest Whitaker) tries to keep the media crisis from resulting in more sniper death.
Larry Cohen's script recalls filmdom's pre-9/11 New York City. Stu is hassled by a bunch of obnoxious hookers before the Caller kills their pimp. The location is gritty and realistic, a New York City we have not seen onscreen in much too long. Schumacher's direction is nothing short of genius. He does not show off with the camera, but keeps things rocketing along at a brisk and brief eighty-three minute pace.
I have never been a fan of screenwriter Cohen, the scariest thing about the "It's Alive" series is its undeserved cult reputation, but his one good idea here turns great with the right cast and director. Farrell plays Stu flawlessly. Holmes and Mitchell are both good at wringing their hands and looking worried, and Whitaker is great as a smart cop trying to help Stu out. Sutherland deserves special mention for his voice work, he does bad with the best of them.
Most thrillers let the audience down at the climax after blowing its wad getting the suspense set up, "Breakdown" comes to mind, but "Phone Booth" follows through to a supreme ending, and serves as a pleasant surprise.
Red Team (1999)
I admit I liked the basic idea of this film. What if an FBI agent stumbled across some cases of serial killers getting murdered by another serial killer, a serial killer killer? Cool, and something different to throw into the serial killer film subgenre. Well, we can always hope.
Patrick Muldoon, looking like the theoretical lovechild of David Duchovny and Jason Patric, plays the young FBI agent Chandler who works in the serial killer unit. He partners with Dobson (Cathy Moriarty), and they work for Heywood (Tim Thomerson). Chandler discovers a bunch of serial killers who are dead or stopped killing, and he goes to his wheelchair-bound mentor (Fred Ward), who has about six scenes and never leaves his living room. Chandler begins to suspect Heywood and his elite squad (the "Red Team") of killing serial killers, and he witnesses a perp get the Red Team treatment -he is thrown off a bridge. This throws a monkey wrench into his investigation of Gaines (C. Thomas Howell), a serial killer who cuts the tongues out of young girls' mouths.
Neat basic idea, but I felt cheated and patronized by the film makers. At one point, Heywood takes Gaines' watch before leaving him to die. Now, we have seen another Heywood victim without a watch, and we see Heywood take the perp's watch, and everyone talks about how serial killers take trophies from their victims, so naturally Heywood is taking timepieces as trophies of his serial killer victims- but we still need Chandler to tell Gaines that, just in case one person out in the audience shrieks "hey, what's the deal with the watches?"
Also, the Red Team sets up Chandler with fake notes from Gaines. Chandler's home is wired to an alarm. Someone from the Red Team gets in, leaves the fake message for Chandler, and does not set off the alarm. Later, when two Red Team members sneak into Chandler's house to kill him, they set off the alarm. Worse still, when one of the fake notes gives Chandler an address where Gaines is supposedly killing a woman as we speak, Chandler goes flying over there alone, gun drawn, not stopping long enough to remember all that great training Fred Ward taught him. How many serial killers give out addresses to the FBI, in case they might want to prevent another killing?
The film's original title, "Red Team," and the video title give away the fact that the Red Team is involved in killing serial killers, thereby negating any suspense the film had planned. The final shot involving the FBI director tries to be very droll and ironic, but it is just a weak ending to a weak film. I cannot recommend "The Crimson Code."
Patrick Muldoon, looking like the theoretical lovechild of David Duchovny and Jason Patric, plays the young FBI agent Chandler who works in the serial killer unit. He partners with Dobson (Cathy Moriarty), and they work for Heywood (Tim Thomerson). Chandler discovers a bunch of serial killers who are dead or stopped killing, and he goes to his wheelchair-bound mentor (Fred Ward), who has about six scenes and never leaves his living room. Chandler begins to suspect Heywood and his elite squad (the "Red Team") of killing serial killers, and he witnesses a perp get the Red Team treatment -he is thrown off a bridge. This throws a monkey wrench into his investigation of Gaines (C. Thomas Howell), a serial killer who cuts the tongues out of young girls' mouths.
Neat basic idea, but I felt cheated and patronized by the film makers. At one point, Heywood takes Gaines' watch before leaving him to die. Now, we have seen another Heywood victim without a watch, and we see Heywood take the perp's watch, and everyone talks about how serial killers take trophies from their victims, so naturally Heywood is taking timepieces as trophies of his serial killer victims- but we still need Chandler to tell Gaines that, just in case one person out in the audience shrieks "hey, what's the deal with the watches?"
Also, the Red Team sets up Chandler with fake notes from Gaines. Chandler's home is wired to an alarm. Someone from the Red Team gets in, leaves the fake message for Chandler, and does not set off the alarm. Later, when two Red Team members sneak into Chandler's house to kill him, they set off the alarm. Worse still, when one of the fake notes gives Chandler an address where Gaines is supposedly killing a woman as we speak, Chandler goes flying over there alone, gun drawn, not stopping long enough to remember all that great training Fred Ward taught him. How many serial killers give out addresses to the FBI, in case they might want to prevent another killing?
The film's original title, "Red Team," and the video title give away the fact that the Red Team is involved in killing serial killers, thereby negating any suspense the film had planned. The final shot involving the FBI director tries to be very droll and ironic, but it is just a weak ending to a weak film. I cannot recommend "The Crimson Code."
Phenomena (1985)
"Creepers" is one of the most juvenile-written movies of our time. Argento is such a good director, there are scary scenes here, scenes you have never seen before.
Connelly is a little stiff as an American girl (also named Jennifer) who is sent to a boarding school in Switzerland, and becomes involved in solving a series of murders. Pleasence is wasted, as he always is, as bug doctor McGregor who befriends Jennifer.
There are two different good film ideas in the script. One is "A crippled bug doctor and a young student solve some horrific murders at a Swiss boarding school." The second is "A young student gets through her lack of friends by finding out she can communicate with bugs." Blending the two ideas is a serious flaw. There are parts of this that scared me to death, and parts where I yelled "oh, Dario!" because what he was giving me as a viewer was so poorly thought out.
I realize I saw the butchered 82 minute version of the originally titled "Phenomena" but there are plot points in here that are so beyond the reach of belief, they must be seen to be believed.
Connelly is a little stiff as an American girl (also named Jennifer) who is sent to a boarding school in Switzerland, and becomes involved in solving a series of murders. Pleasence is wasted, as he always is, as bug doctor McGregor who befriends Jennifer.
There are two different good film ideas in the script. One is "A crippled bug doctor and a young student solve some horrific murders at a Swiss boarding school." The second is "A young student gets through her lack of friends by finding out she can communicate with bugs." Blending the two ideas is a serious flaw. There are parts of this that scared me to death, and parts where I yelled "oh, Dario!" because what he was giving me as a viewer was so poorly thought out.
I realize I saw the butchered 82 minute version of the originally titled "Phenomena" but there are plot points in here that are so beyond the reach of belief, they must be seen to be believed.
Silent Night, Deadly Night 5: The Toy Maker (1991)
Mickey Rooney plays a toy maker named Joe Petto (get it?) who lives with a young man named Pino (get it?). It seems Joe likes to give children anonymous gifts which, when opened, maims and kills them. It is always nice to see a film series come full circle, showing even more hatred for children- a little boy walks in on his parents having sex, retrieves a mysterious package, gets yelled and cursed at by his father, then watches as his father opens the mysterious package and is murdered. We must sit through ninety minutes of lame plot, resulting in a silly resolution that involves killer toys and giant Ken dolls. The "suspenseful" moments are not supposed to be this funny, including rocket roller blades on a kid who gets struck by a car, and a horny babysitter and boyfriend attacked by toy soldiers. Some of the cast from "Silent Night, Deadly Night 4: Initiation" appear, but not as their old characters- that might have been interesting. "Silent Night, Deadly Night 5: The Toy Maker" is hopefully the finale to one lame horror franchise.
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