IT Chapter Two (2019)

It Chapter Two

I can smell the stink of fear on you.  Defeated by members of the Losers’ Club, the evil clown Pennywise (Bill Skarsgård) returns 27 years later to terrorise the town of Derry, Maine, once again and children start disappearing. Now adults, the childhood friends have long since gone their separate ways and are scattered over the US. Town librarian Mike Hanlon (Isaiah Mustafa) calls the others home for one final stand. Bill Denbrough (James McAvoy) is a successful mystery novelist in Los Angeles married to successful actress Audra Phillips (Jess Weixler). Like the others he is haunted by what happened but mostly because he has forgotten or blocked things from his mind – he sought revenge for the loss of his little brother Georgie. His on-set issues with the director (Peter Bogdanovich) of and adaptation of one of his novels arise from the ending which nobody likes, not even his wife, who’s been lying to him for years. Bespectacled and foul-mouthed Richie Tozier (Bill Hader) has become a successful stand-up comic in Los Angeles.  The overweight little boy Ben Hanscom (Jay Ryan) is now a handsome successful architect living in Nebraska. Hypochondriac Eddie Kaspbrak (James Ransone) is a risk assessor in NYC and his marriage to Myra seems to mirror his relationship with his mother. Georgia accountant Stanley Uris (Andy Bean) cannot bear the idea of a return to the town because he is simply too afraid. The group’s only girl Beverly Marsh (Jessica Chastain) is a successful fashion designer whose violent marriage replicates the bullying she endured as a child. Damaged by scars from the past, the united Losers must conquer their deepest fears to destroy the shape-shifting Pennywise – now more powerful than ever… You know what they say about Derry. No one who dies here ever really dies. The second half of Stephen King’s IT has a lot to overcome 2 years after the first instalment and 29 years after it was brought to the TV screen in a mini series. Burdened by over-expectation, hype, and a (mis)cast lacking chemistry, this sequel to the beloved and hugely successful first film aspires to the condition of Guillermo Del Toro movies for some percentage of its incredibly extended running time and wastes a lot of it delving into the past in several rather unnecessary flashback sequences in which some transitions work brilliantly, others not so much. However the mosaic of personal history and occasional flashes of insight accompanied by some black humour restore the narrative equilibrium somewhat even if we all know this is not really about some clown-spider hybrid living in the sewer beneath a small town in Maine. Bill’s arc with his writing is a metaphor for the need to find an ending to a lifetime of latent fear for all the protagonists (it hasn’t stopped him being a bestseller). Grappling with the psychological impact of trauma, child abuse and guilt, this movie is all about burying their root cause:  way to avoid therapy, dude. Surely Pennywise is the ultimate recidivist in a movie where home is a word not just to strike fear but actually has to be carved into someone’s chest rather than being uttered aloud. This is a group of adults who notably have not reproduced.  In the attempt to join up all their experiences coherently there is a ragged logic but it tests the viewer’s patience getting there and after a protracted standoff with Pennywise there is a partly satisfying conclusion where the past has to be physically revisited and replayed, even if the film never reaches the emotional depths or charm one would expect, perhaps because the reality of Pennywise is not more artfully probed:  those character threads are left fraying at the edges. A delight lies in seeing author King playing the pawnbroker selling Bill his old bike and refusing Bill’s offer to sign his novel  – because he doesn’t like Bill’s endings. It could be King’s comment on half the films he’s seen adapted from his own books, especially relevant in a movie that quotes The ShiningAdapted by Gary Dauberman and directed by Andy Muschietti.  You haven’t changed anything yet. You haven’t changed their futures. You-you haven’t saved any of them

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Death Defying Acts (2007)

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We had a real double act, my mam and me.  It’s 1926. Upon arriving in Edinburgh, Scotland for a series of mind-boggling performances, master illusionist and escapologist Harry Houdini (Guy Pearce) offers an impressive cash reward of $10,000 to any supposed psychic who can accurately tell him his beloved late mother’s exact last words. Gorgeous local swindler Mary McGarvie (Catherine Zeta-Jones) rises to the challenge and together with her streetwise daughter Benji (Saoirse Ronan) leads Houdini on in a dangerous flirtation that blurs the line between reality and paranoia –  but she has reckoned without the machinations of his canny manager Sugarman (Timothy Spall) who knows a con when he sees it but has his own reasons to let this Oedipal obsession play out in the world of spiritualists, fake or not … Nothing in this world’s free. It’s an engaging premise and well staged but this drama of who’s-fooling-who sadly won’t hoodwink the audience. Pearce is hardly Houdini although he’s a charmer whether tied up underwater or on the surface, and Jones’ and Ronan’s lively performances as grifters are marvellous but can’t conceal the dramatic deficit at the centre of the narrative. It looks wonderful and is beautifully staged but never really takes off, the mystery of Houdini’s personality is never convincingly exposed and of course as we know it ends in tragedy. Written by Tony Grisoni and Brian Ward, directed by Gillian Armstrong. I used to be a nice man you know. Do you believe me?

 

The Legend of Hell House (1973)

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This house – it knows we’re here. Elderly millionaire Rudolf Deutsch (Roland Culver) is obsessed with the afterlife and hires sceptical scientist Lionel Barrett (Clive Revill) and his wife Ann (Gayle Hunnicutt) to lead a team into the infamous Belasco House, supposedly haunted by the victims of its late owner, a notorious six-foot five serial killer. Though the rational Barrett does not believe in ghosts, the other members of his group ding, including devout spiritualist Florence Tanner (Pamela Franklin) and psychic medium Benjamin Fischer (Roddy McDowall), who has been in Belasco House before and is the only survivor of a previous visit and has therefore seen what horrors can befall those who enter it...  The house tried to kill me – it almost succeeded. Fabled novelist and screenwriter Richard Matheson adapted his own Hell House and transposed it from New England to the old country for financial reasons where it was directed by John Hough (who would also direct the cult Disney horror Watcher in the Woods there a half-dozen years later). This pits science and the rational against the paranormal, with fascinating excursions into the psychosexual – it ain’t too often you see a ghost having its way with a young lady. And Franklin’s presence, a dozen years after that spectacular classic of a haunting, The Innocents, is a guarantee of this film’s integrity and she rewards us with a dazzling performance. Hunnicutt is no less effective although her eroticism is literally in another kind of dimension. Frankly any film that commences with the following statement has me at hello:  Although the story of this film is fictitious, the events depicted involving psychic phenomena are not only very much within the bounds of possibility, but could well be true (Tom Corbett, Clairvoyant and Psychic Consultant to European Royalty). The building’s negative energy has amazing repercussions for these investigators and McDowall has one of his best roles as an unlikely hero, with an unbilled cameo by one of Brit horror/exploitation’s key actors rounding things out as things end rather explosively but paradoxically, giving this a very human affect in a story of things unseen and the detritus of perversion. One of the very best horror films of the Seventies, probably inspired by Aleister Crowley. Shot at Bolney, West Sussex, Blenheim Palace and Elstree Studios. If you’re that clever why are you still a prisoner in this house?

Celine and Julie Go Boating (1974)

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Aka Phantom Ladies Over Paris. Usually, it started like this. When stage magician Céline (Juliet Berto) goes traipsing across a Parisian park, she unwittingly drops first a scarf, then other objects which librarian Julie (Dominique Labourier) cannot help but pick up. So begins a fanciful and obsessive relationship between the two, which soon sees Céline sharing Julie’s apartment and each of them playfully switching identities in their daily lives. As they increasingly indulge their fantasies, they find themselves trying to rescue a young girl Madlyn (Nathalie Asnar) from a supposedly haunted house that Julie worked in and Céline lived next to as a child.  Now it appears to be filled with ghosts (Barbet Schroeder, Marie-France Pisier, Bulle Ogier) …So, my future is in the present.  One of the greatest films ever made, Jacques Rivette’s fragmented narrative of two feisty young women started with two stories by Henry James (The Other House;  The Romance of Certain Old Clothes), giving him a bit of a head start, then he liberally sprinkled some Alice in Wonderland into the mix, created a drama of identity, a rescue fantasy, a story about storytelling, a movie about the cinema, sometimes speeding up and sometimes slowing down, a fiction about fictional creation (because ‘to go boating’ means to take a trip), and came up with a fantasy that adult life could always be as good as your childhood dreams. This is a woman’s film in the very best sense that we can imagine and is of course the source of Desperately Seeking Susan. Devised by Rivette and the stars with input from Ogier and Pisier,and Eduardo de Gregorio, this is a remarkable film of disarming charm, once seen never forgotten, especially with its 194 minute running time. A female buddy film like no other. It doesn’t hurt to fall off the moon!

Blood from the Mummy’s Tomb (1971)

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The meek shall NOT inherit the earth. They can’t be trusted with it.  British archaeologist Professor Julian Fuchs (Andrew Keir) and his team bring the preserved mummy of Egyptian royal Queen Tera (with a severed hand) back from their latest expedition. Fuchs’ rival Corbeck (James Villiers) persuades the archaeologist’s daughter Margaret (Valerie Leon) to get the expedition members to hand over missing relics but each time one is handed over the person holding it dies because Margaret is possessed by Tera’s evil spirit since her father gave her a bejewelled ring from the tomb.  Her nightmares about the expedition seem have now come to life … The late great Chris Wicking adapted (more, or less) Bram Stoker’s The Jewel of the Seven Stars but was banned from the set by producer Howard Brandy and continued working with director Seth Holt in the evenings. Peter Cushing was supposed to play Fuchs but dropped out when his wife became seriously ill. Five weeks into shooting Holt died in the arms of a cast member. He was replaced by Hammer boss Michael Carreras who found that Holt’s work didn’t cut together. This extraordinary backstory (the mummy’s real revenge?!) to one of the best of that studio’s late films is incidental to what is a canny interpretation of Stoker making this modern story seem entirely plausible because of the realistic and sometimes ironic approach. Bond girl Leon is fantastic in the dual role of Margaret and the tragic Queen who turned to evil – both are sexy, of course and Keir does very well as her father. The atmosphere of dread is well sustained while there is some genuinely gruesome action. More than a curio and not quite the mother of all mummy movies but pretty close.

The Skeleton Key (2005)

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The thing folks just don’t understand about sacrifice… sometimes it’s more of a trade. Twentysomething Caroline Ellis (Kate Hudson), a good-natured nurse living in New Orleans feels guilty about not being around for her father’s death while she was on the road working for rock bands. She quits her job as a carer at a hospice to work at a plantation mansion in the Terrebonne Parish for Violet Devereaux (Gena Rowlands), an elderly woman whose husband, Ben (John Hurt), is in poor health following a stroke. When Caroline begins to explore the couple’s rundown house where Violet bans mirrors, she discovers strange artifacts in a locked room at the back of the attic and learns the house has a mysterious past to do with servants from the 1920s, Papa Justify (Ronald McCall) and Mama Cecile (Jeryl Prescott) and the practice of hoodoo. She realises that Violet is keeping a sinister secret about the cause of Ben’s illness and wants to get the old man out of there. When she appeals to their estate lawyer Luke Marshall (Peter Sarsgaard) for assistance she finds that he’s not quite what he seems to be …  It gets harder every time. They just don’t believe like they used to. Gotta get ’em all riled up. An immensely appealing excursion into folk horror that is as much about the history of Louisiana and race relations as it is a genre exercise (though it’s a fairly efficient suspense machine too). Beautifully staged and atmospherically sustained by that very stylish director Iain Softley, it’s written by Ehren Kruger, who burst on the scene with the surprising Arlington Road, another look at Americana (of the homebred terror group variety) who has spent his time since this either a) making a shedload of money or b) squandering his immense talent (take your pick – perhaps both?) making the Transformers films. Hudson is very good opposite screen great Rowlands while Hurt spends his time silenced by the stroke, emoting with his eyes and making a failed suicide attempt off a roof. That’s how badly he needs outta here. Gorgeous location shooting around New Orleans and Louisiana make this a feast for the eyes and the twist ending is very satisyfing, cherI don’t believe I don’t believe I don’t believe

Winchester (2018)

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Aka The 13th Hour. A house in permanent construction on the orders of a grieving woman. In 1906 the board of the Winchester Repeating Arms Company solicit the services of widowed and dissolute laudanum-addicted Dr Eric Price (Jason Clarke) to assess the mental health of Sarah Lockwood Winchester (Helen Mirren) heiress to the Winchester fortune.  She is in the middle of a neverending building project that stands seven stories tall and contains hundreds of rooms. To an outsider, it looks like a monstrous monument to her unravelling mind but for her it is an asylum for hundreds of vengeful ghosts – and the most terrifying among them have a score to settle with the Winchesters and her niece Marion’s (Sarah Snook) son Henry (Finn Scicluna-O’Prey) seems to be the vehicle for revenge… Instruments of death have a powerful connection with the afterlife. Tom Vaughan and directors the Spierig Brothers write a not very scary supernatural horror that excavates the legend of America’s most haunted house via the ghosts of the Civil War, killed by the rifle that won it for the Union. Clarke is more sympathetic than usual while the great Mirren in her widow’s weeds isn’t given much space in a narrative that has an interesting focus on what happens in life involving the afterlife and ghosts with PTSD but seems to lose the plot. It’s lavish but I wouldn’t call it home. Do you know who the most terrifying monster is? The one you invite in

The Medusa Touch (1978)

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Talk about beating somebody’s brains out. French detective Brunel (Lino Ventura) working temporarily on assignment to Scotland Yard in London reconstructs the life of author John Morlar (Richard Burton) who is lying in hospital with severe head injuries following a brutal assault that has nearly killed him.  With the help of the man’s journals and psychiatrist Dr Zonfeld (Lee Remick) he realises that Morlar had powerful telekinetic abilities. His books make the link between evil and power and a pattern starts to emerge:  Brunel starts making uncanny connections with a series of disasters occurring in the outside world triggered initially perhaps by Morlar’s childhood brush with a terrible fire-breathing nanny (Frances Tomelty) whom he believes he willed to death …  If he believed himself involved in disasters he may have convinced someone else too. And they may have sought revenge. This oddly satisfying genre-splicing of psychological thriller/supernatural horror/disaster film/policier is aided immensely by Burton’s brilliant performance and Ventura’s charismatic presence, a real fish out of water navigating both a bizarre case and the politics of London policing. There are a number of significant alterations from the novel but the texture is enhanced by plugging into contemporary fears and layering them with cod-Freudianism to effectively channel several horror tropes and a heady dose of misanthropy. John Briley adapted Peter Van Greenaway’s source book and it was produced by the brilliant editor Anne V. Coates and shot by reliable veteran Arthur Ibbetson. Directed by Jack Gold.  I am the man with the power to create catastrophe

The Little Stranger (2018)

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What this house needs is a big dose of happiness. During the long, hot summer of 1948, Dr. Faraday (Domhnall Gleeson) travels to Hundreds Hall in Warwickshire, home to the Ayres family for more than two centuries. The Hall is now in decline, and its inhabitants – mother (Charlotte Rampling), scarred and crippled son Roderick (Will Poulter) suffering after serving as a pilot in the war and daughter Caroline (Ruth Wilson) – remain haunted by something more ominous than just a dying way of life. When Faraday takes on a new patient there, he has no idea how closely the family’s story is about to become entwined with his own as it transpires he spent time there as a child with his mother who was a housemaid to the family in the aftermath of WWI...  I’m afraid I was horribly jealous of her. She seemed to have such a charmed existence. Adapted from the Sarah Waters novel by Lucinda Coxon, this quasi-Gothic outing has the veneer of sociopolitical critique but is basically a haunted house story with a personal mystery at its core. That mystery is embodied in the doctor – in a case perhaps of Physician, heal thyself, the problems of childhood experience writ large. It’s a sinister and rather elegant exercise but the destiny of the largely unattractive cast seems prefigured in the mouldy decay of the house itself and doesn’t really add up to a hill of beans, complicated by Gleeson’s opacity and the ending, which is true to the obscure conclusion of Waters’ novel. Is this England? Directed by Lenny Abrahamson. Where will it all end?

The Halfway House (1944)

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Death is only a door opening.  During the Second World War, people converge on the Halfway House, an inn in the Welsh countryside run by Rhys (Mervyn Johns) and his daughter Gwyneth (his real-life daughter Glynis Johns). In Cardiff, famous orchestra conductor David Davies (Esmond Knight) is advised by his doctor to cancel a tour and rest, or he will live for only about three months. In London, Lt. Richard (Richard Bird)  and Jill French (Valerie White) argue about the education of their young daughter Joanna (Sally Ann Howes) who overhears them agree to divorce. Then Mr. French and Joanna go on holiday. Captain Fortescue (Guy Middleton) is released from Parkmoor Prison where he did time after being court-martialled for stealing the regimental funds. In a Welsh port, merchant captain Harry Meadows (Tom Walls) and his French wife Alice (Françoise Rosay) quarrel about their deceased son, a victim of the U-boats. Black marketeer Oakley (Alfred Drayton)departs from London for some fishing, while Margaret (Phillippa Hiatt) and her Irish diplomat fiancé Terence (Pat McGrath) take a train from Bristol…… Boyish girls and girlish boys. The fashion for the supernatural in wartime continues apace in this adaptation of Dennis Ogden’s play The Peaceful Inn by Angus Macphail, Diana Morgan, Roland Pertwee and T.E.B. Clarke.  Arguments about what constitutes grief (should a mother feel more than a father), should a family stay together for the daughter’s sake and political righteousness (Ireland’s neutrality – a wish for an impossible peace or an excuse not to takes side) are all on the table. The final images suggest that the external landscape following the inn’s bombing is something that can be made and remade within the mind itself. Strange and fascinating Ealing production with all those familiar faces.  Directed by Basil Dearden. That’s last year’s calendar!