Texas Frightmare Weekend 2011

Last weekend the Gates of Hell opened in Dallas, and , of course, I was there...

...Deiter Laser, who portrayed Dr. Heiter in The Human Centipede. He was very nice, and seemed to be having a lot of fun with his American fans.

...with Nick Principe (Laid To Rest , Laid To Rest 2: Chromeskull, Madison County). A villain onscreen, Nick is one of the coolest guys you'll ever meet in real life.

.....more to come....

Beast's Beauty Of The Week

The Beast is back, with a new weekly feature that spotlights ladies who have done some kind of work in the genre. This week's feature is bittersweet, however, because we recently lost this screen siren. The lovely and talented Ingrid Pitt passed away on November 23rd , 2010, at the age of 73.

Ingrid was from Poland, and survived the Nazi camps and managed to escape the Communist police. She went on to become an actress and appear in some pictures in Spain, and eventually went on to star in horror films at the famous Hammer Studios. Films such as The Vampire Lovers and Countess Dracula gained her a following that continues today. Ingrid also appeared in Where Eagles Dare with Richard Burton and Clint Eastwood, as well as the horror classic The Wicker Man with Christopher Lee. By all accounts Ingrid was a class act...in the extras on the Anchor Bay version of The Wicker Man people involved with the film told about another actress behaving like a prima donna while shooting in the brisk Scottish locations, demanding a coat and coffee and such. When someone asked Ingrid if she wanted a coat, she gestured to all the extras and said to the effect, "If they all don't need coats, then I certainly don't need one either!" Even though she was a star, she was a team player.

Ingrid went on to write several books, including her autobiography Life's a Scream. She was still active on the convention scene as well. Ingrid possessed a charm, beauty, and class that few actresses have. She was a wonderful part of horror history, and will be missed. RIP.

Still lovely...

Texas Frightmare Weekend Pt. 2

Texas Frightmare Weekend was a great time. In addition to the celebrities inside, outside was a hearse and shock rod show. I got to talk to some of the hearse owners, and they were all cool guys. One gave me a frisbee and a bunch of pens with his tattoo shop logo on them (gotta love swag..and check out Ink Pushers Tattoo Emporium if you're ever in the area).

Pictured here is the vehicle for a haunted house attraction in Arlington, Zombie Manor.

The back of the Manor wagon.

Care to go for a ride?

The hotel restaraunt had a special menu made up for the event...I, of course, had to have the Frankenstein Burger.

Besides the celebs, hearses, and food, there were dealers selling t-shirts, books, DVDs, jewelry, clothes, CDs, and there was even a tattoo artist present. Among the treasures I took home : a mini-poster of Dawn of the Dead, signed by George Romero, a DVD of Tromeo and Juliet signed by Debbie Rochon, and a t-shirt from the Rue Morgue magazine booth (the best magazine about horror in culture, in my not-so-humble opionion). There were also showings of various films, but since I was only there for the day, I passed on the viewings this time around. Maybe next year!

TFW was fun, and money and time willing, I may just go for the whole weekend next year. I'll definately be back in some way or another. If you're into horror, check oit out next year...so says the Beast.

Texas Frightmare Weekend Pt. 1

Texas Frightmare Weekend was held at the Sheraton Hotel in Dallas this weekend. I went on Saturday. It was the first horror convention (or any kind of convention) I've attended, and it was a blast.

Here, the Zombie Walk participants close in on the hotel.

They're getting closer....

Kim and I got to meet Elvira (Cassandra Peterson). She was nice, and she still looks great.

George Romero, the man behind Night of the Living Dead, Dawn of the Dead, Day of the Dead, Land of the Dead, Creepshow, and many others. Meeting him was a highlight of the show for me.

Me with Debbie Rochon ( Tromeo and Juliet, Terror Firmer, Colour From The Dark, The Good Sisters, etc.). Debbie is not only a fine actress and a beautiful woman, but she's also a very nice person. Meeting her in person was very cool.

More pictures and creepy stuff to come...

The Beast's DVD Cave- Lo (2008)

A man sits in a darkened room, painting a pentagram which he sits inside of. He follows instructions from a decidedly evil-looking book (which would fit perfectly next to a copy of the Necronomicon). He also has with him a photo of a pretty woman. He follows the instructions in the book, and summons up a demon from the pits of Hell- the demon Lo ( Jeremiah W. Birkett).

This is the beginning of the movie Lo, directed by Travis Betz. It tells the story of Justin (played by Ward Roberts), the guy in the pentagram. He's summoned Lo because the love of his life, April ( Sarah Lassez), has been taken away by demons, and he wants her back. Things, however, are not as simple as they seem...trying to get a demon to do your bidding is dicey, especially so for a nerdy fellow like Justin, and if he strays from the protecticve circle, he'll be at Lo's mercy. Will Justin get Lo to do his bidding? Will he be able to outsmart the demon's trickery? Will he get his April back?

Lo is a great little film, and calling it 'little' is by no means derogatory in this case. It's a good example for filmmakers(and filmgoers) that shows you can make a fine , entertaining movie with a smaller budget. Lo is by turns creepy, funny, sad, and it illustrates the power of love, and what we'll do in its name.

One of the film's strong points is its actors. Roberts does a good job in the role of Justin, nerdy but determined to get back his love. Lassez also gets a gold star for her portrayal of April, a strange, naive , yet charming gal. The real show stealer in my opinion, however, is Birkett as the titular demon. Lo is scary, but he's also a smartass, and has most of the film's funniest lines. He, in true demon fashion, tries not to fullfill Justin's wishes, but it turns out that there's more to him than meets the eye...

In addition to directing Lo, Betz also wrote and edited the film. There's a lot of cool little touches, such as when Lo pulls memories out of Justin's head to get to know he and April's relationship. Instead of the usual flashback scenes, the memories are played out on a stage like a play, complete with people visible in the wings, and audible audience reactions (there's also a pair of living Comedy/Tragedy masks flanking the stage, which are both humorous and creepy at the same time). There's also a musical number , believe it or not, delivered 50s do-wop style. After seeing Lo, it makes me want to track down Betz's other work, and I'm eagerly awaiting his next film as well.

As I stated earlier, Lo is a great little film. It has more character, creepiness, and charm than just about any big-bugeted film out there...or any size budget, for that matter. If you want to see a film with horror, humor, love, and a dancing rat-demon, look no further. Go track down a copy and check it out (hint: Netflix has it). The Beast gives it his official seal of approval. Go watch it already!

The Beast's DVD Cave- Dead Snow

Dead Snow (2009) is just what the doctor ordered. Amidst all the CGI-infested flicks that have come out lately, Norwegian writer/director Tommy Wirkola has delivered a good, fun, splattery zombie movie. And not just any zombies, but Nazi zombies.

The film starts with some one being pursued through the dark, snowy, Norweigian night by...something. She doesn't get far. The next day we see a group of medical students including Vergard (Lasse Vendal), Hanna (Charlotte Frogner), Martin (Vegar Hoel), and Roy (Stig Frode Henriksen), who are on their way to a remote cabin to enjoy some Winter outdoor fun and some indoor partying. A stranger passing by tells them of the evil that remains since the days of WWII; of a group of Nazis and their treasure. The young students of course write the man off as a loony, but when one of their group who was skiing to the cabin doesn't show, a search is made, and discoveries show that the strange man wasn't full of shit, and the group is in danger by the hands of a group of undead Nazi soldiers.

Dead Snow is a film that's very aware of its genre. One of the characters is a film buff, and even wears a t-shirt of Peter Jackson's blood-soaked Braindead(aka Dead Alive), and like Jackson's film,there's a good dose of humor along with the horror. There's the usual young folks partying and trying (and even succeeding) to get laid. There's an Evil Dead-esque scene when two of the students go to a tool shed and arm themselves for the inevitable zombie battle. However, Dead Snow isn't just a rip-off, or a simple love-letter to the genre. It stands on it's own, and though it may owe much to those that have gone before it, it has its own feel and style.

One of the elements that sets Dead Snow apart from other zombie films is the setting. There's quite a few shots of the beautiful snow-covered surroundings, which make an interesting counterpoint to the horror lurking just over the sonw-capped hills. It also reminds me of another Norwegian export, that being the musical genre known as Black Metal. Norwegian bands such as Emperor sing songs about the Norwegian night sky and the majesty of it, but the message is delivered in a brutal fashion. Maybe being in such a cold, beautiful place inspires artists in differing media. At any rate , it does make a nice change from the usual urban, pastoral farmhouse. and island settings usually seen in the zombie genre.

Nazi zombies have lumbered across the screen before Dead Snow. The 1977 film Shock Waves gave us some creepy aquatic Nazi zombies, along with veteran actor Peter Cushing. There was also the 1966 feature The Frozen Dead, which had Nazi scientists keeping parts of soldiers alive for nefarious reasons. The undead soldiers of Dead Snow are appropriatley scary, especially their leader, whom has a great scene towards the end of the film when our heroes think that the laeder is the only remaining zombie(hint: they're very wrong).

Another nice difference is that the protagonists are characters I actually felt for...I cared about their survival, unlike the idiots populating most horror films. I usually find myself rooting for the 'villian'. There is one scene in particular (which I won't divulge) that is tragic, and it happens on the heels of a run of fun, zombie-killing antics, which makes it all the more horrifying, and brings home the fact that these poor folks aren't playing a game; they're fighting for survival, and death is a very real outcome for them all.

All in all, Dead Snow is a damn good film. It's referential without ripping off , it's funny , tragic, bloody, and ridiculous at times. Simply put, it's a great little horror film, and it's just what we horror fans need, not more damn remakes. I tell you, the U.S. horror film product is getting its collective ass kicked by our foriegn friends. Go see it, already.

Now's when a chainsaw would come in handy...

The Beast's DVD Cave- Inferno (1980)

Rose ( Irene Miracle) is living in New York and researching an old book titled 'The Three Mothers'. It tells of the Mothers, powerful and dark witches, and their houses, built for them by an alchemist, one in Rome, one in Germany, and one in New York. Rose wants to discover the secrets hinted at in the book, but someone wants them to remain secret. Rose's brother Mark ( Leigh McCloskey) gets pulled into the web of secrets and magic, and comes to see his sister, who is missing when he arrives. Will Mark find out his sister's fate? Will he escape death at the hands of the killer lurking about? Can he find the answer to the riddle in the old book in time to solve the mystery, or will he become another victim ?

Inferno is the second film in the Three Mothers Trilogy directed by Italian Horror maestro Dario Argento, coming out a few years after the first entry, Suspiria (1977). Like the first film, Inferno is an atmospheric film with strange and sometimes surreal touches throughout . The use of colors, partiuclarly red and blue, resembles Suspiria. However,this film is less a fairytale gone wrong than its predecessor...it seems more like an urban gothic horror tale, with its scenes taking place in brownstones and buildings, streets and alleyways. Even a trip to a mailbox at night seems frought with menace...nothing actually happens to Rose as she mails the letter to Mark, but it seems as though something bad easily could (and eventually does).

Inferno is fulled with bizarre setpieces and strange and possibly symbolic images,which is appropriate, since alchemy figures into the story(alchemists often avoided actually writing their works in words, instead using images to symbolize their works and discoveries). One such scene has Rose going down some stairs underneath the building she lives in, and finding a hole in the floor which is filled with water. She drops her keychain into the hole, and has to dive into the watery abyss to retrieve them. Once down the 'rabbit hole', as it were, she discovers an ornate room completely submerged in the water...unfortunately for her, there are also some decomposing bodies floating about down there as well. Rose's brother Mark also goes down into his own 'abyss' later in the film, as he goes beneath the floor of Rose's apartment. Another reoccuring motif is bleeding hands. Sara ( Eleonora Giorgio), Mark's classmate in Rome, cuts her hand as leaves a taxi that drops her off at an old library. Rose cuts her hand on a glass doorknob when trying to escape a shadowy figure pursuing her. These bleeding hands serve as a forshadowing of these characters' dark futures, or perhaps sort of a stigmata-like purpose.

Animals also serve as symbols of mystery and magic in Inferno. Cats abound in the film, which makes sense, as cats have always represented magic and witchcraft. Rats also turn up, when the antique dealer whose shop is next door to the mysterious building where Rose lives takes a sack full of cats to drown. The shopkeeper is attacked by rats ( and if you ask me, the fucker deserved it), and then finished of by a malevolent deli worker ( I know how weird that sounds, but this is a weird movie, after all). There are also shots of lizards eating moths which add to the overall creepiness factor. Another creepy touch, though non-animal related, is a scene of the killer's black-gloved hands making a chain of paper dolls, then cutting the heads off. One of my favorite scenes ( which would also appeal to all you book fans out there, I'm sure) isn't that scary initially, but it takes lace in the library Sara goes to. It's an old-school library, with shelves and shelves of books...my first thought was 'I'd love to check that place out.' The visit soon turns sinister, though, when Sara discovers an alchemist's lair in the library( I'd stil love to check out that place).

Another piece of the puzzle that is Inferno is the soundtrack, which was done by Keith Emerson, of Emerson, Lake, and Palmer fame. It's a combination of rock, jazz, and classical (with appearances by Verdi). It's an odd combo, but it works here.

What doesn't work for me, and really is my only gripe about Inferno , is the main 'actor', McClosky. He's dull and wooden, and seems like we'd be more at home in a men's wear catalog instead of attempting to act. I find it hard to care about his character's survival while watching the movie, honestly.

Actor choices aside, I really like Inferno. It's artful, violent, mysterious, strange, and magical. It's vintage Argento at his artistic prime. It's a classic, and one of my favorites. Go watch it, already.

"The only true mystery is that our very lives are governed by dead people."

The Beast's Movie Cave-Deadgirl

Being a teen in high school can be a horrorshow at times, but the film Deadgirl (2008) makes it literal. The film starts with Ricky ( Shiloh Fernandez) and J.T. ( Noah Segan) skipping out on school during a fire drill to go to the creepy local closed sanitarium to drink beers and break stuff. A vicious dog appears and chases them into a room with a door that's rusted shut. Curiosity gets the best of them and they force the door open. They find in the sealed room a table with a naked woman ( Jenny Spain)chained to it. At first she appears dead, but she starts to move. J.T. decides that they should 'keep her'. Ricky disagrees, and an argument erupts, ending with J.T. punching Ricky. Ricky returns later and J.T. reveals his discovery-the girl is neither live, nor dead, as he tried to strangle her for attempting to bite him while he had his way with her, as she sometimes comes out of her semi-comatose state to try and bite anyone nearby. Ricky still has issues with 'keeping her', even if she is some kind of zombie, though he promises to keep it a secret.

As with most secrets kept between teens, it doesn't last long. Ricky, whose dreams of longtime crush Joann (Candice Accola) are interrupted by visions of the Deadgirl, goes to see the undead woman and discovers J.T. with their stoner pal Wheeler ( Eric Podnar) , who is taking his turn, as it were, with the Deadgirl. Wheeler later spills the proverbial beans when getting a beating from the school jock/preps, and Joann's boyfriend Johnny (Andrew DiPalma) ends up getting bit on a very sensitive area by Deadgirl, which leads him to become sick, and later in a tortuous undead state as well. Johnny, after being bitten, violently beats Deadgirl's face, leading J.T to be less than attracted to her anymore. After discovering the effect of Deadgirl's bite, he decides he'll 'make another one', which leads to a tragic finale involving Ricky, J.T., Wheeler, Joann, and of course, Deadgirl.

Written by Troma alumnus Trent Haaga and jointly directed by Marcel Sarmento and Gadi Havel, Deadgirl is a very dark film. The trailer calls it a film about the horrors of growing up, but wrapped up in that , I think, is a lot of other stuff... high school friends growing apart, as Ricky and J.T. do, for example. The objectification of women by men is a not-to-subtle part of the program as well, I'd say. Teen romance is also thrown in the mix, and the unfortunate reality of it not working out, as well as the hierarchy of the 'in-crowd' and those who are not part of that crowd in high school.

I think the main theme in Deadgirl is morality, or lack thereof. Upon finding Deadgirl, J.T.'s first and immediate response is one of ownership, and discovering she's not really 'human' just makes it that much easier for him (and others) to use her as they see fit. J.T.'s motivations aren't simply one-dimensional, though. At one point, he tells Ricky that , essentially, Deadgirl is the best they'll ever have, given their social status (being squarely outside the popular camp in school) and in perfect teen vision, can't see past his present situation. Wheeler, a classic stoner 'dude' character, literally jumps right in on abusing Deadgirl for his enjoyment...one can assume he shares J.T.'s sentiments, or merely just doesn't care. Johnny, the poster boy for jocks and preppies, has no problem not only beating up those smaller than himself, but is easily steered towards cheating on Joann with Deadgirl. Joann, the girl Ricky pines for, seems sweet for the most part, but doesn't want to 'be seen' with Ricky, for fear of social reprecussions. Ricky seems to have some moral stability, at least. He is against 'keeping' Deadgirl, and at first intends to free her, but soon his judgement is clouded by teen lust...and he goads Joann's boyfriend Johnny into performing forced oral sex on her, knowing full well her temperament, and the likely outcome . Whether Ricky manages to keep his already shaky footing on moral ground or completely slips away like those around him is one of the most interesting aspects of the film.

Deadgirl is a horror film, but I'd call it social horror. There's an undead being at the center of the story, but it's a different kind of zombie movie. Yes, she is a monster of sorts, but Deadgirl is merely the catalyst to the main horror, that of the behavior of the 'people' around her. Like in many of Guillermo Del Toro's films (The Devil's Backbone, Pan's Labyrinth, Chronos), the monster is no where near as bad as the humans are.

As I said, Deadgirl is a very dark film. There are bits of humor in it, such as J.T. and Wheeler's botched kidnapping attempt, but for the most part, it's a deep, dark view of the way some humans treat each other...and it ain't pretty. Deadgirl is no feel-good movie by far, but if you are in the mood for a thought-provoking look at the less-than-wonderful way some humans treat each other, wrapped in a horror story, check it out. I liked Deadgirl, maybe you will, too...just don't get too close...she bites.

Halloween Horrors- Frankenstein (1931)

Off to a late start, but my first Halloween film post is on a personal favorite, Frankenstein. The story, for those of you who have lived an incredibly sheltered life, is based on the 1818 novel written by Mary Wollstonecraft Shelley, who was a teen when she wrote it, though the film is merely based on it, and not a direct adaptation.

The film, directed by James Whale, is about the efforts of Dr. Henry Frankenstein (played admirably by Colin Clive), who strives to make a living being using parts of dead bodies, literally creating life from death. Assisted by his huncbacked employee Fritz (Dwight frye), he assembles enough pieces to make his creation. However, Fritz manages to destroy the brain Henry had designs on during his fumble-fingered scavanger hunt, and brings another brain of not exactly equal but definately lesser value. When he realizes that his creation isn't of the caliber he had hoped for, he decides to wash his hands of him, but the Monster (portrayed by Boris Karloff, in a stellar performance) has other ideas, and escapes. Murder, chaos, and fear lead up to a final confrontation in a burning windmill in one of the all-time classic horror films ever made.

Frankenstein is a classic, and after a recent viewing, it does still hold up well today. The plot moves along at a decent pace. It starts right off in the graveyard, with the good Doctor and Fritz gathering parts for Henry's big science project, and goes along from there. The creation scene in the lab is great, with all those crazy , pseudo-scientific contraptions ( created by master propman Kenneth Strickfaden) crackilng , whirring, and blazing. The sets are mostly of the studio-standing-in-for -outdoors type, but it gives the film a kind of storybook feel, albiet a dark storybook. The acting is well done, too, and not as 'stagey' as some films of the era. Clive does an excellent job as the Doctor, giving an intense performance of Henry Frankenstein as a basicaly good guy who is obsessed with his pursuits, and perhaps a bit insane as well. Frye sets the standard for hunchbacked, morally depraved lackeys as Fritz, and Karloff knocks it out of the park as The Monster, billed in the opening credits as '?'. His Monster is indeed scary, but he manages to also give him a sense of innocence, almost like an unwanted child...a big, scary, undead child, who can be violent when provoked, but a child nonetheless. When Fritz is tormenting the Monster with fire, I know I wanted to see him grab that hunchbacked bastard and let him have it( which he does later). The famous scene with the little girl also illustrates the child-like nature of the Monster. Wandering the countryside, the Monster finds a litle girl playing by a lake. She is unafraid of him, and invites him to play. The towering brute is joyful at making a friend. They play at tossing flowers in the lake. When they run out of flowers, the monster, with his less-than-adequate mental capacities, decides since the flowers were pretty, it'd be Ok to toss the little girl in the lake, too. As she drowns, we see the the Monster visibly upset at his mistake...far from a mindless murder machine, he didn't mean to hurt the little girl, but is unequipped to let the villagers know it was a mistake, as he is mute, communicating only with growls, grunts, and whimpers...not that the villagers would probably listen, anyway.

I don't know how it is for generations younger than mine, but Frankenstein is one of those characters that is universally known (pun intended). Frankenstein set the bar for monster movies...the mad scientist, the hunchbacked assistant, the monster, the angry villagers, the dark castle, the stormy night, the graveyards to creep around in...it all started here, although I believe Dracula(1931) was made first, it's Frankenstein that , to me, that remains the gold standard of horror film mythology. Frankenstein(the monster), as a character, has become immortal, like other literary characters such as Sherlock Holmes, Dracula, James Bond, and Conan. Also like these characters, Frankenstein is better known through movies featuring him than the original source novel. He has also, like the aforementioned examples, gone on in countless other media, like comics, TV shows, toys, and in spoofs such as The Rocky Horror Picture Show (1975), and the brilliant and hilarious Young Frankenstein(1974), done by Mel Brooks. Even folks who don't watch horror movies know who you mean when you mention Frankenstein. Something about him has etched itself onto our popular culture psyche. It may have to do with the fact that he's both monster and innocent, or maybe it's because most of us have grown up with these movies, and they've left their mark on us in one way or another...or maybe it's a bit of both. I often wonder , just how I wonder what Robert E. Howard would think of his characters still being popular today, what Shelley would think of her creation being such a part of the horror ( if not cultural) landscape...I think she would probably like it.

If you've never seen Frankenstein, I humbly suggest you do so ...and this is the perfect season for it. And if it's been a long time since you've watched it, get a copy and revisit and old classic...and an old friend of mine.

"Here's to a new world of Gods and Monsters"-

Dr. Pretorious (Ernest Thesiger), Bride of Frankenstein,

(1935)

Blood, Stitches, and My Old Pal Frankie

A while back my dentist told me that due to overly brutal brushing habits and bad luck in the gum genetics department that I needed to have oral sugery done. I finally went in and did it.It involved cutting tissue from the roof of my mouth and transplanting it in various places along my gumline. I was blissfully unaware of the procedure itself, as the surgeon gave me two little blue pills to take a half-hour before the procedure, plus IV sedation once I got there. I remember seeing two of everything at that point. The rest of the day is kind of a blur, except I do recall waking up with a mouthful of blood ( a common thing with this procedure, I'm told)...I got up and went to the bathroom, and spit up about a cupful or so of blood, then went back to the couch to crash again. The next day , I was more lucid, but with a mouthful of pain. So, with a fresh bunch of sutures, a monosyllabic grunting vocabulary, and a dim view of things in general, I decided it was a good day to watch the original 1931 Frankenstein.

I got a copy of the Universal Frankenstein Legacy DVD set at Half-Price Books a while back. It's a collection I'd been meaning to get for some time, but hadn't gotten around to it yet. Usually Half-Price doesn't have a lot of DVDs that interest me, but when I saw this 2-disc set for 12 bucks ( they were having a sale), it seemed meant to be. I hadn't watched these classics in a long time , and resembling the monster in question, it seemed a perfect film to watch that day.

Frankie and I go way back ( I know that Frankenstein is actually the doctor, not the monster, but I'm one of those that was brought up calling the monster by his creator's name...in other words, if you're a nit-picker, deal with it). The big, flat-topped amalgamation of dead parts brought to life was one of, if not the first, monsters I'd ever seen. I was about 3 years old or so, and I can remember getting out of bed at night, and on weekends my parents would be watching Creature Feature on the local ABC affiliate out of South Bend, Indiana. They would show what I would refer to back then as 'monster movies' on Friday and Saturday nights. This was back in the Dark Ages when there was not yet such things as cable TVs or home VCRs, much less DVDs. TV stations used to show a lot more movies back then, and they were often black-and-white classics(and not-so-classics,too)...something unheard of these days, except for TCM, maybe. It was either Frankenstein or The Mummy that I saw first, at least those are the two ones I can recall seeing at a really young age. Boris Karloff played the monsters in both films, so I guess he's partially to blame for how I turned out, because seeing these classic movies formed my love for horror way back then.

I remember being scared as Hell of Frankenstein when I was little...I even remember a nightmare I had, somewhere between the ages of 3 and 5, I think, where Frankenstein chased me down the corridor of an old castle, and grabbed me and lifted me up over his head, presumably to smash me on the floor or something, but I of course woke up and ran to my folks' room, bawling my rotten little head off. Still, even though Frankenstein scared me, I was fascinated by him. My parents still laugh to this day, because during a horror movie I would get scared, run out of the room...and always come creeping back in, unable to stay away from the black-and-white images on the little TV set in the otherwise darkened living room. There was something there, calling to me, speaking to me, even though I couldn't quite understand it yet. I recall my neighbor, an older kid named Rusty, who was an excellent artist, drew a very nice picture of Frankenstein for me, and I carried that thing around with me for the longest time. I sometimes wonder whatever became of Rusty...I hope he's still drawing today. That drawing meant the world to me then. I also remember having those old Aurora model kits of Dracula and the Phantom of the Opera, with the glow-in-the-dark parts. My parents put them together for me, because I was too young to manage a model kit...Hell, I can barely manage one today, for that matter. Somewhere along the line I got a Frankenstein trash can, and a Frankenstein action figure, both of which I still have to this day.

As I got older ( and by older, I mean about 7 or so), I saw the true spirit behind the monster that I intuitively saw as a toddler. Frankenstein was scary looking, and yes, he did kill some people, but really, he was just a big doofus who wanted what we all do...friends and understanding. This especially came clear in the first sequel, Bride Of Frankenstein (1935), when the monster learns to speak, and briefly has those things he wants so badly, only to have them taken from him. My heart broke along with his when I watched , and my heart still goes out to that giant, stitched-up monster when I see it to this day.

Human feelings aside, I suspect, deep down, that one of the reasons I liked Frankenstein ( and the other monsters) so much is because they were scary. I don't know why this is...I just know that on some deep, primeval level I've always been drawn to monsters and scary stuff, as well as superheroes ( which I guess is the flip side of monsters and horror, though there is a lot of crossover territory...Batman, for example). As I got older and quickly realized that I wasn't one of those kids that 'fit in', I began to identify with monsters more, as they are typically outsiders, especially Frankie, since unlike , say, Dracula, he isn't evil, just misguided. Sometimes the people around you seem a lot like the villagers in the Frankenstein films...a mindless, judgemental mob out to get rid of anything different, unwilling to take the time to look beneath the surface. One can hardly blame Frankie for throwing a few villagers around.

I plan on covering the Frankenstein films in more depth in October when I do my Halloween Horror film reviews, but for today, I just wanted to 'talk' a bit about an old friend of mine that I got to see for the first time in years, and how he's responsible for getting me into 'monster movies' all those years ago. Thanks, Frankie..I owe you.

Safety tip: Kids, take swimming lessons before playing with Frankie...

The Beast's Movie Cave- Inside

Back when I reviewed the film Martyrs, I stated how the French are kicking ass in the horror film department, and I mentioned a film called Inside. Now it's time to take a closer look at that film.

Inside (or A' I'nterieur,2007) tells the tale of a woman named Sarah ( Alysson Paradis). Sarah lost her husband in a tragic car wreck 4 months prior. She is pregnant, however, and due to go to the hospital the next day ( which happens to be Christmas)to induce labor. Sarah is not overjoyed, however, as she is still overwhelmed with grief at her husband's death. She makes plans with her mother and boss to get to the hospital the next morning.

That night, she has a stranger knock on her door- a woman (Beatice Dalle), who when Sarah refuses to let her in, tells her that she knows her name, that her husband is dead, and that she wants Sarah's baby...and the woman is armed with a very large pair of surgical scissors to do the job. What starts as a holiday evening filled with depression and solitude becomes a blood-soaked night of terror and murder. Will Sarah survive? Will the unborn baby survive ? Who is this mysterious woman, and why does she want Sarah's baby so badly?

Inside is a masterpiece of horror, in my humble opinion. It takes a very simple (if not twisted) premise and runs with it. The film, written by Alexandre Bustillo and co-directed by Bustillo and Julien Maury, makes the most of its modest structure-small cast, few locations (the primary one being Sarah's house), and a small budget by your usual Hollywood standards. In spite (or maybe because) of its somewhat small scale, the film is packed with emotion, intensity, and blood...gallons of it.

Like Martyrs, the acting helps to sell the story. Paradis' portrayal of Sarah makes the viewer feel for her loss, even as she alienates those around her(in fact, she's downright bitchy at times). Still, it's hard not to have sympathy for her, especially when there's a crazy woman trying to cut her baby out of her with a big-ass pair of scissors. Speaking of that, big acting kudos go to Dalle for her role as 'La Femme', said scissor-wielding psychopath. Dalle makes her character one of the scariest screen nutjobs to come down the pike in quite a while. Whether it's lying, acting innocent, or going all stab-happy, La Femme will do whatever it takes to reach her goal.

It's interesting that these two French films, Martyrs and Inside have a lot in common- strong female lead actors, powerful emotional content, intensity, and violence aplenty. I think one of the reasons these films are so effective is the depth of the emotional content , and of the acting...if you care about and feel for the characters, it's even more horrific when tragic and violent things happen to them.

I want to also mention the look of the film. The colors/lighting used make for an interesting look-the dark house, the yellow, sodium-looking light in most of the house, the bright, white of the interior of the bathroom (which makes the blood stand out all the more)...the use of different colored lighting reminds me a bit of Italian filmmaker Dario Argento's Suspiria ( see my review back last october), but used in a more realistic efffect, as opposed to the otherworldly, fairytale effect Argento strove for.

As the above picture may tell you, Inside is a very violent film. There were some scenes that made me cringe, and that takes a lot. As always, the copy I own is unrated, and , as always, if there is a watered-down version, I would stay away from it...there's no sense in half-assing it.

If you've a mind to watch an intense, bloody horror film, put a copy of Inside in the old DVD player, and prepare for a wild ride. I officially give it The Beast's Seal of Approval...so go watch it, already.