Monthly Archives: October 2015

Film review: Halloween 4: The Return of Michael Myers (1988)

MyersHalloween 4: The Return of Michael Myers (1988)

[From Critical Wave #17, 1990. Copies of Platform Entertainment’s 2010 DVD release are currently available via Amazon, as is the 2012 Blu-ray edition.]

 

There are essentially two schools of thought when it comes to horror movies. The first, typified by John Buechler and Clive Barker, holds to the theory that emotional response is directly linked to visual bombardment: the gorier the image, the greater the impact. The other, which informed Robert Wise’s superlative 1963 screen adaptation of Shirley Jackson’s The Haunting of Hill House, opts instead for intensity and suggestion rather than graphic anatomy lessons, shadows rather than splatterfests.

Regrettably, the latter school has had few graduates in the past decade, the box office success of Freddy Krueger and his rivals too much of a temptation for young film-makers eager to make their mark and all too ready to jump aboard the bloody bandwagon if it seems to be heading in the right direction. That’s not to say I’m not in favour of a little gore once in a while, just that by the time you’ve seen your tenth eye-gouging or your fortieth disemboweling, the entire affair loses its initial shock value, much as a stag night comedian who peppers his routing with “fucks” soon becomes merely tiresome.

So I suppose I should send a note of thanks to Dwight H Little, director of Halloween 4: The Return of Michael Myers, for not only creating (with screenwriter Alan B McElroy) a movie with sequences of real tension, but denting the view that horror sequels are by their very nature a worthless exercise in audience exploitation. The third chapter in the Myers saga (Halloween 3: Season of the Witch having no connection to its predecessors, you will recall) opens a decade after John Carpenter’s original, Jamie Lee Curtis’ character having survived her murderous brother only to die in a traffic accident, the focus shifting to her young daughter, now fostered by one of Curtis’ babysitting clients. Uncle Michael is safely locked up, of course, but (surprise, surprise) escapes to wreak havoc in tranquil Haddonfield yet again.

Several questions arise at this point, such as “How come psychopaths are always relocated in pitch darkness?” and “Why don’t people simply leave town for the Halloween weekend?”, but expecting a sensible answer is as pointless as wondering how Myers and monomaniacal psychiatrist Donald Pleasance survived the fiery finale of the second movie. You simply have to suspend disbelief, set your brain in neutral and go with the flow; gore fans may be disappointed by the conspicuous lack of on-screen carnage (folks get offed, sure, but with a refreshingly economical style), but I actually jolted at one point towards the close, which is quite a change from the usual predictable yawnfest. And make certain you catch the final few minutes, for one of the neatest twist endings in many a moon.

Film review: Edge of Sanity (1989)

Edge2Edge of Sanity (1989)

[From Critical Wave #11, 1989. Twentieth Century Fox released a DVD in 2004, copies of which are currently available via Amazon. Copies are also currently available on eBay.]

 

If Robert Louis Stevenson, awakening from the nightmare which spawned his novel The Strange Case of Dr Jekyll and Mr Hyde, had been granted a vision of the legion of cinematic emetics his book would ‘inspire’, I suspect he’d have thrown his notebook to the floor, slid back under the sheets and vowed to never again eat strong cheddar before retiring.

However, we have Allied Visions’ Edge of Sanity as testament that such was not the case, with Anthony Perkins drafted in to essay the role of the deranged doctor. Intriguingly, the script is credited to J P Felix and Ron Raley, with no mention of the original source, though judging from the final result, this may be out of respect for the dead.

The core of Stevenson’s novel is its anthromorphosis of Victorian society, the Jekyll / Hyde split holding a mirror to the hypocrisy of the privileged few who preached morality in the daytime and spent their nights frequenting music halls and brothels. Its subsequent stage adaptation by the American actor Richard Mansfield struck a deep chord in a community then being terrorised by the Whitechapel murderer immortalised as ‘Jack the Ripper’, a relevance not lost on the makers of this movie.

What Edge of Sanity chooses to do, however, is to forge a direct historical link between the murders of autumn 1888 and the fictional antagonist of a novel published two years earlier. By dubbing the murderous alter-ego ‘Jack Hyde’, it attempts to cash in on the interest rekindled by last year’s centenary and at the same time legitimise its sado-sexual excesses; needless to say, it fails on both counts.

EdgeAnthony Perkins tackles his dual role with only a modicum of make-up (arguably the film’s single merit), playing the Hyde persona as a close relative of the homicidal priest he portrayed in Ken Russell’s excellent Crimes of Passion. This time, unfortunately, Perkins is allowed to go completely over the top and thus disastrously undermines his character’s credibility. His decision to take this course might be a conscious attempt to emphasise the difference between the mild-mannered workaholic Jekyll and his amoral doppelgänger, but it’s just as likely to be another coffin nail in director Gerard Kikoine’s reputation — particularly when Glynis Barber (as Elizabeth Jekyll) is allowed to be just as wooden as Kim Cattrall was in Kikoine’s previous genre effort, the dismal Mannequin.

Even more self-destructive that the erratic performances on screen is the film’s reliance on softcore titilation, underlined by Valerie Lanee’s bizarre costume designs, which totally eschew historical accuracy and opt for a cross between Ann Summers and Cyndi Lauper, decorated with more crucifixes than the Vatican. At some points, it out-Russells Ken himself, no mean feat but no reason for anyone to bother tracking this film down, either, unless you’re an s&m junkie. And if you are, I doubt you’ll find this dressed-up slasher yarn any more to your taste than I did.

Separated at birth?

I’m currently watching Odeon Entertainment’s excellent Blu-ray release of The Blood On Satan’s Claw (1971)*, wherein Linda Hayden’s demonic possession manifests itself in her sprouting bizarre bushy eyebrows. Hold on, I thought, could that mean model / actress Cara Delevingne has struck a similar deal with the Great Beast?

Eyebrows

*(Odeon is currently offering a triple-disc deal for The Blood On Satan’s Skin, Witchfinder General (1968) and The Blood Beast Terror (1968), all three on Blu-ray for £30. Word to the wise: availability is extremely limited.)