Apparition has an interesting central idea that is unfortunately undermined by some cliche handling of ghost story material that means the final product lacks intensity.
Apparition starts with a level of frenetic energy that really shows promise. The scene is intense, featuring two young boys under threat from their mother. The sequence kicks off a chain of events that leads to the boys being sent to a notorious reform school where one of the boys, Jeremy, suffers particularly poor emotional and physical treatment from the wards. His encounter with Anna (Mena Suvari), a kindly, maternal member of staff at the school triggers a tragedy.
The introduction to the film is around 20 minutes long and honestly, it feels like there is enough within that story to sustain a ghostly tale of revenge. Instead, we get a time jump to 20 years later to the wedding of the son of the warden from the school, attended by the wards and their children. This means that the film has to spend even more time establishing new characters which does mean they fall a little into stock tropes. This change does bring in an interesting element, however, in the shape of socially-awkward Sam who, following the rehearsal dinner for the wedding, reveals to the group that he has invented an app that allows people to talk to the dead.
Sam’s app at first appears benign, even comforting, leading one of the group to discover a previously-lost heirloom. The presentation of the app is impressive, with soft female vocals adding something to the atmosphere. Unfortunately, the atmosphere it creates soon dissipates due to the overuse of faux jump scares throughout the film. Our central group are under constant threat from things that turn out not to be threatening after all. While this trick can work when employed sparingly, the repetition here leaves me cold.
This isn’t helped by any actual jump scares being accompanied by some absurdly loud scare chords. I think I’m perhaps overly sensitive to this as it is a pet peeve, but sometimes it indicates a lack of confidence in the scare factor of the ghosts. In fact, the effects in this are not bad at all and a greater weight placed on this would be effective enough.
I don’t want to sound overly negative about the film as it certainly seems there are budgetary restraints that may have influenced some of the choices made. The cast are solid, even if there’s relatively little nuance needed in the performances. There is a really wonderful musical cue towards the end that does lend the finale a level of gravitas so there is definitely a level of skill employed. The ghosts being invoked through the app and then using other methods of technology works very well as a narrative thread. Ghosts playing back real-life events through a television screen is a very nice touch. In fact, almost everything about ghost lore is used well here, including themes of grief, guilt and revenge.
Apparition certainly isn’t the worst of its kind, despite its problems. Too noisy and without enough depth to award more than 2 out of 5 stars to though.
Apparition is released on iTunes, Amazon, Google, Microsoft, Sky Store, Vubiquity on February 10th.
The Final Girls Berlin Festival has announced the line-up for its 5th edition and it looks very impressive. Including shorts, features and talks, the festival “showcases horror cinema that’s directed, written, or produced by women and non-binary filmmakers”. Taking place at the City Kino Wedding art house cinema in Berlin from February 6th to the 9th, the festival promises a great mix of exciting new releases in addition to revisiting older titles.
The festival kicks off with a programme of shorts under the theme Bad Romance. Films from Poland, China, Malaysia, Canada, UK and the USA indulge in the exploration of sex, fetishes and the consequences of secrets in relationship.
The first feature is Mary Harron’s Charlie Says, a film chronicling a graduate’s interactions with the three women involved in the Manson Family murders. Harron’s handling of difficult subject matter inAmerican Psycho makes me feel pretty confident that she’ll cover this in an interesting way.
The second feature is The Father’s Shadow, a Brazilian film that follows a grieving young girl turning to magic while her depressed father struggles to stay in work. Horror and magic often make very suitable bedfellows so I’m very keen to see how this works.
The February 7th lineup starts with the talk Horror Comes Home. The talk will be presented by Amanda Reyes and explore the representation of women in television movies from 1964-1999. This is followed by a second block of shorts entitled Social Ills. The block contains a number of films tackling issues of racism, socialism and oppression. I’ve been lucky enough to see the high-quality Reformed previously and if the other films are of this standard this block is likely to be very impressive, if difficult to watch. From the lineup Tingle Monsters about an ASMR blogging live stream has really caught my attention.
An industry talk with Rue Morgue executive editor Andrea Subissati follows the shorts and the donation-based event looks like a fantastic opportunity for writers to learn from someone with success in horror journalism. Next up is the German premiere of The Deeper You Dig, a story of three characters whose lives collide in mysterious ways. The last shorts block of the day Graveyard Shiftpromises a collection of the stranger side of horror, featuring zombies, vampires and even one girl’s journey through her own gut. For those keen to extend their day, a party at GR_UND promises experimental films, drag performances and DJs, which sounds like an excellent way to spend a night.
Valeria Villegas Lindval starts proceedings on Saturday 8th February with a talk about The Bad Mother in Mexican Horror. A doctoral candidate at the University of Gothenburg, Valeria’s talk looks to track the representation of La Llorona from early cinema to modern genre takes. Andrea Subissati returns for another talk – this time on the use of martyrdom in horror, which you have to know by now is exactly my kind of thing. As God Is My Witness looks to be an informed exploration of a much-misunderstood concept.
Saturday’s first feature is an anthology film bringing together eleven female directors from across Australia. Dark Whispersuses the central device of a book to reveal each woman’s chapter. With #MeToo dominating so many discussions of women in film, it stands to reason that female film-makers would be exploring this in their work. The #MeToo shorts block features a number of films dealing with power, sexual assault and the legal system that so often fails victims.
Perhaps as a chance to recover from dark subject matter the program also includes a horror trivia event hosted by drag performer Vanessa Júpiter. The fact that the talks and events like this are free (donation-based) really allow them to be accessible for all, which feels so important. Shorts program 5 revolves around Queer Horror, including stories of self-discovery and becoming. The True Crime strand plays on the popularity of the genre among women but also looks at female killers, including a short called Watching Karla Homolka that looks at the infamous killer’s ongoing legacy, even after release. Following this is a film I am very interested in, having heard mostly positive feedback from its screening at the Frightfest Halloween event. Swallow, following a pregnant woman who develops a compulsion to swallow dangerous objects feels exactly like the kind of thing I’ll enjoy. The final showing of the day is a screening of Slumber Party Massacre, a film subjected to reappraisal as being far more feminist than the title expresses. It screens with I Was A Teenage Serial Killer, which invokes the spirit of punk, DIY film-making.
The final day begins with an event I’m not sure I’ve seen at any other festival. How Did She Do That? invites Pretty Deadly Self Defense to show clips, break them down and detail some of the moves involved in famous arse-kicking horror scenes. I can’t imagine anything quite as fun as this on a Sunday morning! After the adrenaline wears off, attendees will be treated to another talk from Orla Smith exploring Outer Threats and Inner Demons: The Changing Face of the ‘Female Monster’. Using films like Julia Ducournau’s Raw, Smith explores the changing role of women as their own antagonists.
The penultimate shorts block Blood Ties looks at the role that women play in their families, from tormented little sisters, curious daughters and terrified mothers. The final shorts block Folk Tales portrays rituals, strange creatures and myths. Folk horror is often one of my favourite sub genres and the variety of stories within the block offer a wide range of stories to engage with.
The final talk is a panel involving visiting filmmakers to the event. While these have yet to be announced, it is always interesting to hear directly from filmmakers about the challenges and joys of working within the industry. The last three events are all feature films, starting with Tito, a Canadian film about a recluse who finds his restricted, terrifying life changed by an intruder who offers protection. Next up is Rock Paper Scissors which features three siblings engaging in a number of twisted games. I’m intrigued by this one, having missed it at Frightfest last year. The final film of the festival is the wonderful Hail Satan? a film that perfectly balances its off-kilter characters with very serious messages. I honestly can’t think of a better way to close the festival.
Tickets for the entire festival are priced at €68 (approx £58) and are available from this link. You can see more about the program on the Final Girls website – https://www.finalgirlsberlin.com/
Second Sight have produced two beautiful blu-rays for some much-loved Amicus productions. Released on January 6th, I can’t think of any better way to kick off the new year than with these lovingly crafted releases.
It feels slightly out of place to review Asylum (1972) and The House That Dripped Blood (1971) given their age and the amount already written about them, but I think the content of the films, as well as the special features in this release deserves some attention.
Asylum
Asylum, for me, suffers slightly in failing to embrace its campy nature. Some of the effects and overall tone of the film feel a little dated and I can’t help but think this darker tone doesn’t allow for the fun of some other titles. This sincerity makes the charming, but somewhat simple special effects stand out more. However, there’s still an incredible amount to like here. My favourite has to be Frozen Fear, starring Sylvia Sims, although Lucy Comes to Stay, featuring Britt Ekland and Charlotte Rampling certainly stands out in terms of star power.
Boasting brand-new artwork from the fantastic Graham Humphreys, in addition to the original artwork for the film, the presentation of the blu-ray is undoubtedly impressive, as pictured above. The main feature film has hard of hearing subtitles which is a welcome addition, even if the sound is strong. The visuals too are impressive – the print is clear without removing the quirks of that era of film-making. The other special features are as follows:
Audio Commentary with director Roy Ward Baker and camera operator Neil Binney
‘Two’s a Company’: 1972 on-set BBC report featuring interviews with producer Milton Subotsky,
Director Roy Ward Baker, Actors Charlotte Rampling, James Villiers, Megs Jenkins, Art Director Tony Curtis and Production Manager Teresa Bolland
Screenwriter David J. Schow on writer Robert Bloch
Fiona Subotsky remembers Milton Subotsky
‘Inside The Fear Factory’ Featurette with directors Roy Ward Baker, Freddie Francis and producer Max J. Rosenberg
Theatrical trailer
The special features are curated to give the best possible insight into how the film was made, but also covers how Amicus worked as a studio. Their slimline method of working was crucial in attracting big stars and keeping films on time and within budget. The Fiona Subotsky interview is lovely, calling upon her memories of husband Milton and his incredible interest in and affection for popular culture that drove him.
You can order Asylum from Second Sight Films here.
The House That Dripped Blood
The House That Dripped Blood is one of my favourite anthology films (The Vault of Horror takes the top spot) because it uses its stars so well in self-referential ways. The House That Dripped Blood is notable for having all of its stories written by Psycho novel writer Robert Bloch and this definitely gives the film a sense of coherence that something like Asylum tends to lack. In this, you have a better assortment of story types ranging from the dark to the more comic. I love the way that Sweets for the Sweet plays on Christopher Lee’s iconic villain roles to create something more unexpected.
For me, there isn’t a weak story in the bunch, although special mention must go to Jon Pertwee and Ingrid Pitt starring The Cloak, where Pertwee’s horror actor Paul Henderson bemoans the new actor behind Dracula, stating his preference for Bela Lugosi. It is this sense of fun and confidence in playing with the star power on board that makes it such a joy to watch, even all these years later. Again, the technical elements of the blu-ray are worth mentioning – a colourful segment involving Peter Cushing in a wax museum is incredibly vibrant. The special features are as follows:
Audio commentary with director Peter Duffell and Author Jonathan Rigby
Audio commentary with film historian and author Troy Howarth
Interview with second assistant director Mike Higgins
‘A Rated Horror Film’ – Vintage featurette featuring interviews with director Peter Duffell and actors Geoffrey Bayldon, Ingrid Pitt and Chloe Franks
Theatrical trailers
Amicus radio spots
Stills gallery
Reversible sleeve featuring new artwork by Graham Humphreys and original artwork
SDH English subtitles for the hard of hearing
The special features again seek to explore the success of the Amicus studio and their methodology in creating films. There is an impressive range of interviewees captured in the interview features and there is further insight into the making of the film.
You can order The House That Dripped Blood from Second Sight Films here.
Overall, both blu-rays do a great service to some undoubtedly classic films. Allowing those who already love the films a detailed and visually impressive collection as well as offering newcomers a complete vision of the films and the output of Amicus, these are worth a space on anyone’s shelf.
I am currently running a competition on my social media for people to win my review copies so if you’d like to be involved, do check that out. The competition ends on January 10th when a prize draw will take place.
scaredsheepless 