Theresa “Tree” Gelbman wakes up hangover for her birthday, in the room of a classmate she spent the night with, and, after being the biggest bitch on earth throughout the day, she’s lured into a tunnel where she is murdered by a hooded figure wearing a mask of the campus mascot. Continue reading “Birthdays have never been so dreadfully terrible. Happy Death Day – movie review”
I knew when I started my blog that, sooner or later, I would have gotten the chance to review this genre masterpiece. And now I feel like I’m not ready to do it.
What can you say about an exceptional product that has been disected over and over throughout the years by the best critics in history? How do you approach the “scariest movie ever made” and make it justice? What smart comment can you add to what has been said millions of times before?
Reviewing The Exorcist is simply an impossible task.
However, I’ll try my best to pinpoint some of the incredible features that made this film so great and influential.
Based on William Peter Blatty’s novel of the same name, the first game-winning decision by Warner Brothers in the making of the film was to hire the author himself as screenwriter and put William Friedkin at the helm.
The involvement of the author of the novel guarantees a substantial loyalty to the source material and its themes, whereas Friedkin’s direction adds the gritty realism and shocking value required for a movie like that.
We all know the plot of The Exorcist: a little girl, Regan MacNeil (Linda Blair), in Georgetown is possessed by an insidious demon. Her mother Chris (Ellen Burstyn), a famous actress, takes Regan to several doctors, experts and psychiatrists, whose attempts to cure the girl are utterly useless.
Despite being a devout atheist, Chris then clutches for the last straw and summons a priest to help her: Father Karras (Jason Miller), who himself is dealing with grief and anger due to his mother’s death, is however unable to provide the proper support, so that he uses expert exorcist Father Merrin to perform the exorcism and backs him up throughout the process.
Running for about two hours, The Exorcist never has a single dull moment. The build up to the climactic battle between good and evil, God and Devil, the two priests and Pazuzu is as compelling as the ritual itself.
The story, unheard back then in a first-class drama, is compelling because there are no disposable characters. Every single cast member is on point in their performance: the doctors are not just oblivious paper-thin figures; instead they cleverly try every way to improve Regan’s conditions, convinced they derive from some form of disease or mental illness that could be treated medically.
The accuracy with which Friedkin approaches the medical exams and attempts is mesmerising. From the machinery to the hospital procedures, every single scene involving a scientific feature is spotless.
The audience is, therefore, compelled to the story because it looks extremely realistic (even though the subject matter might seem absurd to the sceptics) and emotionally attached to the characters.
Ellen Burstyn’s performance, in particular, is truly Oscar-worthy: the viewer feels for her as a mother, mostly because her acting is top-notch and her love for Regan overcomes her fear and desperation even in the darkest (and scariest) moments.
Linda Blair, as Regan MacNeil, is also perfectly cast. Starting off as a sweet, innocent girl, she soon turns into one of the most iconic and scariest characters in cinema history.
The practicality of the effects, combined with Blair’s acting skills, make for gut-wrenching possession scenes. Although a couple of them were clearly sped up in the editing room, The Exorcist holds up better than 95% of the movies that came out in the 2000s.
This film is genuinely frightening on many levels: from the actual scenes depicted in the movie to the implications hidden in every dialogue.
Featuring no exposition whatsoever, The Exorcist is ahead of its time and, thus, an immortal motion picture that unlikely will lose impact in the years to come.
Since it’s an actual scary film that doesn’t need jump-scares to startle the audience, this movie is not an easy watch. For example, my parents (who are in their 50s) still can’t manage to sit through it in its entirety.
In particular, the sequences in which Regan stabs her intimate zone with a holy cross or those where she unnaturally twists her neck are genuinely off-putting and disturbing, no matter how old you are or how many horror movies you’ve seen.
Yet, the constant aura of angst and uneasiness is carried throughout the film because of the immaculate cinematography created by Owen Roizman and the soundtrack by Michael Oldfield, easily the best horror score in cinema history.
Besides a minute lack of explanation about the death of a doctor (probably killed by Regan under the control of Pazuzu), The Exorcist is a solid film that has it all. Do you really need me to recommend it?
Barack Obama and Mitt Romney are having a face-to-face on the national television: 2012 election for the White House is approaching and American people’s major concerns revolve around politics, economy, Obama care…
In Black Spring, a few miles down the road from New York, alongside the Hudson, Tyler Grant – son of Steve and Jocelyn – is making his way on YouTube as a vlogger. Not one of those who show off their uninteresting lives 24/7, though. He is a journalist-in-the-making, who wants to make the word a better place through his investigations and sharp, unapologetic statements filled with young-adult idealism.
However, Tyler has little interest toward the American election, since his main focus is “bringing Black Spring out of the Dark Ages” and showing that Katherine van Wyler, the Black Rock Witch with sewn-shut eyes and mouth who’s been haunting the town since the 17th century, cannot make the town folks live like barbarian any longer.
The young idealist must act in the dark, away from the indiscrete eyes of Black Spring committee and HEX – the security squad that follows ancient laws and applies corporal punishments for those who don’t obey to them, no matter how the rest of America is civilised and advanced.
Nonetheless, the dangers for Tyler Grant also come from some of his friends who took the concept of “opening the eyes of the town” way too far, deciding the set up a private, gruesome and cruel revenge against the Black Rock Witch.
The consequences of their actions will be deadly lethal not just for them, but for the entire citizenry of Black Spring.
HEX (2016) is the brilliant English debut of Dutch novelist Thomas Olde Heuvelt, who wrote a ‘primitive version’ of the book back in 2013, for the Dutch audience.
His new version of the story, set in the United States – within a very different society – perfectly captures the American spirit in its bright spots and shadows.
This book succeeds on many levels, primarily in terms of character development. HEX tells the story of an entire community, giving all the main characters compelling motivations and strong personalities. When you read the book, you feel part of Black Spring and there’s nothing more refreshing than being dragged and immersed into a story like this.
Black Spring is, itself, a major character and massive source of horror. Although Katherine is a constant, dreadful presence in the book – the Judgment Day will come when she’ll open her eyes, rumours in town say – the citizens are catalyst of terror and hideous actions.
Thus, the story is interesting because, besides Heuvelt’s enormous writing skills, everything is blurry and the boundaries of good and evil merge often, as it happens in human nature.
In perfect Stephen King’s style, the author utilises a paranormal entity as Katherine to describe the every-day-horror that lies underneath the surface of modern societies.
That’s the most striking part of the story and moral of HEX, in my opinion. This book enhances the consequences of fear and mass hysteria: so that Katherine could as well be a symbol for everything that scares a community to the point it loses humanity and brotherhood values.
Katherine is the object of a propaganda that turns civilised people in bloodthirsty barbarians who are apt to flog teenagers who disobeyed anachronistic codes and offer human sacrifices.
As per issues with the novel, I believe there’s one storyline which did not need to be there. The Delarosa are a recently married couple who move to Black Spring and witness the appearance of Katherine: they are utilised by the author as a device to carry the story along and insert a long expository dialogue which gives the witch a backstory that could have been provided in a much subtler way throughout the pages.
Yet, HEX being a horror novel, the scary beats – those that would be translated to jump-scares in a film – are procrastinated by the insertion of descriptive moments that only make the tension shy away.
Also, the ending (the last few pages) is quite confusing and left open to interpretation. Although I don’t usually despise this technique and the message is still delivered clearly, many storylines are left hanging and that may cause a bit of disappointment.
Nevertheless, HEX is one of the best horror/mystery novels I have read in years. Suitable for any kind of reader (+16, I’d say), Heuvelt’s book is a breath of fresh air for the genre and I’m looking forward to reading his next work.
Author: Thomas Olde Heuvelt