Fright Flashback: They Made A Third One?

Welcome back to Fright Flashback, where *ahem* "every" week until the end of summer we will visit an older horror film that is in some way a spiritual precursor to an upcoming new release. This week we are were anticipating Insidious: Chapter 3, the third entry in a non-R-rated haunted house franchise. In celebration, we'll be revisiting Poltergeist III, which reached that point in its own franchise about two and a half decades earlier.

Year: 1988
Director: Gary Sherman
Cast: Heather O'Rourke, Tom Skerritt, Nancy Allen
Run Time: 1 hour 38 minutes
MPAA Rating: PG-13

1988 may have been the perfect year for a Poltergeist sequel. The original film was so iconic and intensely personal (though to whom it was intensely personal is up for debate. *cough cough Spielberg*), that its inevitable followup necessarily lacked it luster and thematic appeal. So there MGM was with a horror franchise already run into the ground thanks to a perilously dull second part, while meanwhile Freddy and Jason were racking up body counts in the hundreds and box office receipts in the millions.

In order to keep their property afloat, they upped the ante. And, seeing as this was the late 80's, that means pure lunacy. They transplanted the story to a Chicago high rise, boosted the body count, and pulled out all the practical effects that not very much money can buy, draping everything in fashions so untowardly ridiculous, they went out of style the second principal photography shut down. Maybe even the second the costume designer stepped out of the department store with their credit card in hand.

Each individual layer of that outfit doesn't even match itself.

This oddball approach to the story gave it just enough juice to cap off the trilogy on an exciting and lasting note. Thank you, 1988.

Poltergeist III puts Carol Anne Freeling (Heather O'Rourke) in the custody of her Aunt Pat (Nancy Allen) and Uncle Bruce (Tom Skerritt), because sometimes successful adult actors don't want to return to a horror series for a third time. Carol Anne has been enrolled in a school for child prodigies which is headed by the wicked Dr. Seaton (Richard Fire), who believes that the ghosts haunting the young girl are a result of a mass hypnotic suggestion perpetrated in a desperate bid for attention. The fact that he firmly believes in hypnosis but not ghosts is but the smallest logical leap the plot makes. They's starting us off easy, you see.

When Carol Anne is left alone with her cousin Donna (Lara Flynn Boyle) during her aunt's art gallery opening, Donna ditches to go to her crush Scott's (Kip Wentz) party downstairs, leaving Carol Anne alone with the ghost of Reverend Kane (Nathan Davis), who is inhabiting the mirrors and has taken supernatural control of the building. When Donna, Scott, and Carol Anne are sucked into the mirror dimension, Pat, Bruce, and Dr. Seaton (who is also Scott's father) must team up with the medium Tangina (Zelda Rubinstein) to put an end to this haunting business once and for all.

Honestly, I wouldn't mind if that awful red jumper got banished to the shadow dimension.

First and foremost, the practical effects that went into the mirror work is stunning. They're not quite as extravagant and state-of-the-art as any individual effect from the first film, but they're admirably timeless. They don't show any seams because they don't have any.

The other special effects are likewise pretty consistently superb, though there are a few minor slip-ups, especially when it comes to recreating Kane. The original actor, Julian Beck, died of stomach cancer in the middle of shooting Poltergeist II: The Other Side, and the film's feeble recreation of his chilling, gaunt face looks no spookier than an old potato.

In addition to having a generally more consistent pacing than Part 2 when it comes to showcasing special effects, some of the gags in the film are pure nightmare fuel. Only read this if you've seen it or have absolutely zero interest, but in moments like when [Donna bursts screaming from Tangina's shriveled corpse], Poltergeist III transcends from being a kooky special effects thrill ride to a balls-trippingly horrifying hell dimension.

I LOVE THE 80'S, YOU GUYS!

Although this is all terrific, there was a trade-off made when the Poltergeist franchise finally succumbed to the influence of the 80's. In exchange for zanier fashions and a more consistent, creepier effects palette, the film had to sacrifice depth. The original Poltergeist had a novel's worth of comments and criticisms on the state of American suburbia and the sequel, while dull, at least attempted to follow in its footsteps.

While Poltergeist III does have some interesting material to chew on in the form of the high rise building containing everything a person could possibly need so they never have to leave a single building (home, jobs, shopping, and dining - it's the ne plus ultra of comfortable suburbia hidden within the city), the idea of distant relatives being reluctantly incorporated into a loving family, as well as the possibility that Carol Anne might accidentally be creating the ghosts within her own imagination, it just doesn't have anything matching the level of analysis of the previous films. There are some terrific raw elements in there, but they aren't synthesized into anything particularly meaningful.

Rather, the film favors a series of abrupt stop-and-start plot beats that play second fiddle to the terrific and sometimes bone-chilling effects. One minute, Aunt Pat is begging to ditch the Evil Little Brat, the next she is proclaiming her undying love for her. One minute Tangina is soliloquizing about some nonsensical Power of Purity or some such, the next she's appearing in a cloud of water, tossing magical necklaces about like she's Oprah and giving cryptic advice. It's all a fascinating jumble, but it ain't classical storytelling.

The power of Poltergeist III lies in its ability to be a stunning jack-in-the-box without the subtext. That's why it'll never be a classic like the original. But at least it sloughs off the dreary monotony of its immediate predecessor in favor of a thrilling roller coaster ride. You won't catch me complaining about that.

You won't catch me. I'm too fast.

So, yes. This movie has flaws. A great many of them, in all honesty, including the fact that it doesn't make full use of the opportunities presented by its setting and that, if you're not a fan of people screaming "Carol Anne!" then this movie isn't for you. I have it on good authority that her name is repeated 121 times throughout the film, and if you cut out every line that's reiterated two times or more, Poltergeist III would be a short film.

But! But! The cinematography is daring, at times reminding me of Shock Treatment, which is secretly high praise, considering that film's penchant for wrenching terrifically ambitious shots out of a staggeringly low budget. And director Gary Sherman coaxes far superior performances out of O'Rourke and Rubinstein, leaving the limp Poltergeist II dead in the water.

And once more, I'd like to remind you that this film is a living catwalk of the apocalyptic anarchy that was taking hold of the fashion market in 1988. Nobody is safe from the denim jackets, pastel scarves, garish costume jewelry, neon eye shadow, and towering piles of crunchy, starched hair that you could snap off and pick your teeth with. It's daring, it's bold, it's pandemonium. And it's glorious. The scenes with the teenagers are like a cross between a Go-Go's music video and the first act of a slasher, all perfect chemistry and terrible pattern clashing. It's a wonderful treat, and Poltergeist III is better for it.

It's not a well thought-out movie, no. But it's so unabashedly fun and has such surprising skill behind its construction, it deserves a place in the pantheon as one of the better sequels to come out of the back half of the decade. Don't let this one pass you by.

TL;DR: Poltergeist III has a gibberish plot and strange theology, but it has an inestimable 80's charm.
Rating: 6/10
Word Count: 1357
Reviews In This Series
Poltergeist (Hooper, 1982)
Poltergeist II: The Other Side (Gibson, 1986)
Poltergeist III (Sherman, 1988)
Poltergeist (Kenan, 2015)

They're Back

Year: 1986

Director: Brian Gibson

Cast: JoBeth Williams, Craig T. Nelson, Heather O'Rourke

Run Time: 1 hour 29 minutes

MPAA Rating: PG-13

It was only a matter of time before they made a Poltergeist sequel. After all, the original film came out in 1982, just one year after the 80's sequel inferno ignited with the success of Friday the 13th Part 2. 

It's a mystery why they waited so long, but presumably the filmmakers wanted to be respectful of the legacy of Dominique Dunne. The actress, who played the Freelings' teen daughter, was tragically murdered shortly after the film's release, forming the first in a series of unfortunate deaths that became known as the "Poltergeist Curse."

But I'm not here to write about Hollywood gossip and tenuous paranormal theories (though if the show Ghost Hunters is any indication, there's a market for that). I'm here to write about some horror sequels, because that's what I love to do. 

God help me.

Poltergeist II: The Other Side is the dictionary definition of diminishing returns. The box office was lower, the returning cast was altogether weaker, and the special effects extravaganza that defined the original film had subsided into the background. The plot could have given away this fact all on its own, with its ultimate revelation that the Freelings' house in the Cuesta Verde suburb complex was built on a burial ground which was... built on a different burial ground. This time, the tomb of an unlucky cult.

One of my favorite things is when horror franchises get desperate enough to resort to crazy plot devices to keep their overarching narrative going. This is like Christmas for me.

So anyway, the Freelings - father Steve (Craig T. Nelson), mother Diane (JoBeth Williams), son Robbie (Oliver Robins), and daughter Carol Anne (Heather O'Rourke) - are back, and this time they're living with their grandmother (Geraldine Fitzgerald). When the demonic cult leader/ghost/whatever the needs of the scene require Reverend Henry Kane (Julian Beck) begins haunting their new abode, inflicting the power of the spirit world upon the family yet again, they realize that their nightmare isn't over.

Nor are the effects that look like a Scooby Doo computer game come to life.

Of course Tangina (Zelda Rubinstein) is back, but the utterly weird effect she instilled upon the first film is dashed through overfamiliarity, a too early appearance, and its dilution through the utterly inadequate Taylor (Will Sampson). Taylor is at once a grotesque caricature of Native American shamans and a purveyor of dangerously concentrated Sequel Explanation nonsense. When he's not sitting in his teepee or trying to steal Steve's car, he is portentously babbling about the evil forces that are hard at work at not scaring us at all.

Because, let's face it, Poltergeist II: The Other Side is about as scary as a bowl of milk. The special effects are mostly nonexistent, only perking up beyond "a third grader drew lightning on the screen" on two occasions. Now, one of these moments is pure H. R. Giger nightmare fuel, but for the most part the film can't focus on anything long enough to wring true terror from it.

To be fair, this was a film beset with difficulties. Following Julian Beck's untimely death from stomach cancer during the middle of filming (The Curse! Burn the witch!), the filmmakers were forced to retool the ending sequence, throwing off the balance of the story immensely. While Kane's visage and Beck's performance are suitably extravagant, he never comes across as a truly potent evil figure, and his being shuffled out of the film halfway through renders the entire third act aimless and perplexing, during which arbitrary characters are bestowed with inconsequential clairvoyance left and right and the plot wastes away, wheezing in the corner.

A series of deus ex machina moments prolong a perfunctory and muddled ending that occurs without finality or triumph, merely a slight whiff of putrid air.

The power of family continues to prevail over the power of hack screenwriting.

Despite featuring performances from more or less the exact same cast, the years and the decreased production values have sucked the impact out of things. Previous standout JoBeth Williams is shunted aside aside in a role that highlights the ineffably weaker Craig T. Nelson's Steve as the central figure. His already unsteady performance is toppled by a script that requires him to wear a terrible haircut and a more or less permanent scowl, then parade around without a shirt an inexplicably numerous amount of times.

Zelda Rubinstein and Heather O'Rourke, the two most ethereally compelling figures from Poltergeist, are likewise given short shrift. O'Rourke had some raw talent, but with any child actor, she needed a good director to draw it out of her. Brian Gibson (of the Tina Turner biopic What's Love Got to Do with It - so at least he has some experience with horror) was evidently not that director. And poor Miss Rubinstein seems actively bored in a paranormal role turned as mundane as the neighborhood milkman.

She looks like she just dropped by to borrow a cup of sugar.

But in spite of its cavalcade of flaws, there's something mildly interesting lurking just beneath the waxen surface of Poltergeist II. First off, some of the original film's humor survives, especially in the family's reaction to their previous predicament (i.e. they have no TV and are forced to listen to sports on the radio; they discuss what exactly they should say on their insurance forms considering that their house crumpled itself into the void).

In addition, there is an occasional gesture toward the political acuity of Poltergeist. Where the first film was all about the dark side of Reagan-era suburbia, the sequel shines a light on the crisis of American masculinity. It's not nearly so intelligent as I made it sound, but the chink in Steve's armor is his doubt about being able to keep his family together. With his position as patriarchal authority figure in question, he allows the spirits to manipulate him through his weakness and fear.

There's an additional subplot that, while I wish it were explored more in depth, stings with truth. It comes to light that Diane initially wanted to have an abortion when she found out she was pregnant with Carol Anne. This revelation allows a rift to grow in the family unit as the ghosts gain strength, but is defeated when their love for one another overcomes this obstacle.

I don't have a caption for this. I just like this picture.

So all in all, Poltergeist II: The Other Side isn't remotely scary, falls prey to a disorganized screenplay, and doesn't truly explore the consequences of the titular other side. It's not particularly worth watching for any but the true faithful haunted house fandom, but if you decide to pursue it, there are several nuggets that you can manage to mine. Preferably if you're writing a thesis on ghost films or something, because at least you can make productive use of your wasted time.

TL;DR: Poltergeist II: The Other Side is a lackluster sequel that lacks direction and scares.
Rating: 5/10
Word Count: 1193
Reviews In This Series
Poltergeist (Hooper, 1982)
Poltergeist II: The Other Side (Gibson, 1986)
Poltergeist III (Sherman, 1988)
Poltergeist (Kenan, 2015)

Fright Flashback: They're Here

It's that time of year again! While you're getting out the sunblock and your big floppy hat, please give a warm summer welcome to Fright Flashback! Every week I will be reviewing an old horror movie that shares a theme, cast/crew member, or genre with the week's big release: a sort of spiritual predecessor. Again, very special thanks to Tim Brayton at Antagony and Ecstasy for the idea I more or less shamelessly ripped off and modified. I stand on the shoulders of giants, what can I say? It's comfortable there.

This week's new release is the long-delayed remake of just about the only horror classic left on the chopping block: Poltergeist. In celebration, we are heading back to 1982 to appraise the original property.

Year: 1982

Director: Paul Blart: Mall Cop

Cast: JoBeth Williams, Craig T. Nelson, Heather O'Rourke

Run Time: 1 hour 54 minutes

MPAA Rating: PG

I haven't seen the original Poltergeist since I was a child, and there is perhaps no better condition in which to view it. As one grows older, one gains a more mature appreciation for the deeper themes present in what is a truly remarkable movie, but the level on which Poltergeist works best is in its pure spectacle, and the childlike wonder and appreciation for the terrors that lurk in the dark shadows of the suburban idyll.

Also, frankly, children have a higher tolerance for chintzy 80's special effects.

There has long been contention about the directorial authorship of Poltergeist, and I would be remiss by not at least nodding toward the controversy. Though the credited director is Tobe Hooper of The Texas Chain Saw Massacre and, one year previously, The Funhouse, reportedly the bulk of his work was performed by producer Steven Spielberg during a break on his own film, E. T. (both films came out within a week of each other - what a time to be alive, am I right?). 

Honestly, my money is on heavy Spielberg involvement, but it's rather beside the point. We'll never know the true answer, and the fact is that both of them were there, resulting in an indisputable classic of the genre. What more is there to say?

Just let sleeping clowns lie.

Poltergeist's plot is a simple one, albeit dressed up with some rather detailed theological accoutrements. The Freelings are a middle class family who live in one of the identical houses of the Cuesta Verde suburb of an unnamed California town. Father Steve (Craig T. Nelson) is a realtor responsible for selling a good half of the properties in the district, mother Diane (JoBeth Williams) is young and loving, but softly frustrated with her responsibilities as a parent.

Having had her first daughter, Dana (Dominique Dunne), at the tender age of 16, her youth has been compromised. Robbie (Oilver Robins), the only boy, and Carol Anne (Heather O'Rourke), the youngest, don't exactly subtract from her strain. The conflict of Poltergeist reflects the conflict inside Diane: despite making every effort at achieving the trappings of domestic bliss, something is insidiously, indelibly wrong with the whole affair.

The very nooks and crannies of the Freelings' familiar abode become a hotbed of paranormal activity when a ghostly presence asserts itself through the static on the television (Remember when TV actually ended? I don't.). At first, the disturbances are harmless, almost playful, but they quickly crescendo into a nightmarish conglomeration of terrors, culminating in Carol Anne's being spirited away into another realm. With the help of the paranormal crack team of Dr. Lesh (Beatrice Straight) and her associates, as well as a third act showstopper appearance by the advanced medium Tangina (Zelda Rubinstein), the family attempts to reclaim their lost child from the unknowable menace.

The housing market was really rough in the early 80's.

First and foremost, Poltergeist is a rapturous showcase for MGM's state-of-the-art special effects. Second, it is a lovingly detailed character drama about the American family. Third, it is a down-home shocker chockablock with instantly iconic moments.

Let's begin with the first, especially because that most cherished element is perhaps the weakest of the film. I don't mean to say that the ample special effects are anything but spectacular. They are, but if we're going to be completely honest, most of them have aged about as well as the Flock of Seagulls haircut. 

It's easy enough to still find tension in these moments thanks to the emotional heft of the characters and storyline, but the film devotes a great deal of time to curdled milk visual effects that remain charmingly cheesy but dangerously challenge the truth and reality at the core of its narrative.

Sometimes it feels a little like an Eldritch Horror-themed high school prom.

That's all well and good, but if you dig a little deeper under the topsoil of shiny chrome ghoulies, Poltergeist has an impenetrably solid thematic bedrock. The entire first act serves to deliver the ultimate experience in suburban bliss, only to tear it down time and time again for the remainder of the film. In its ineffably phantasmagorical way, it peels back the facade of the American Dream to reveal that, in fact, all is not good in the neighborhood.

The trappings of suburban bliss become conduits for hellish monstrosities: chairs, dolls, closets, televisions, and even the very landscape surrounding the house. And yet the family unit remains strong. No, Speilberg and Co. are not warring against the nuclear family - his many many films during this era would disprove that immediately - but rather the Reagan-era greed and materialism that led them to this moment in this place surrounded by these suburban trappings (obtained to the detriment of the graveyard that once stood on that very ground, forcibly evicted by a mercenary realty company*).

Behold: The Suburban Nightmare!

Not only is this fascinating, it's downright terrifying. As I said before, the special effects have long since lost their luster as anything other than a sideshow amusement, but the film so firmly believes in its world that its easy to get caught up in the undertow. 

JoBeth Williams especially sells the hell out of even the most Novelty Barn-looking effects, dragging the film into raw, unadulterated reality with an unfiltered performance of pure strength. Craig T. Nelson can't quite match her (his eyes are remarkably uninvolved in whatever he seems to be doing or saying), but as the useless patriarchal figure he does the trick.

And don't even get me started on Zelda Rubinstein, whose exorbitant weirdness sets the film ablaze with a new inferno after its pace starts to flag a bit in the third act, during which we must sit through an alarming amount of philosobabble. It is in this quadrant of the film where it hits the peak of its strangeness, but her unrestrained performance breathes life into a scene that, when you think about it, is literally just a small woman throwing tennis balls at a strobe light. 

Honestly, the simplicity of the finale ignites the imagination rather than exhausting the eyes, providing the perfect backdrop for the film's emotional climax.

But I digress. I was speaking about acting, and I would be remiss if I neglected to mention Heather O'Rourke. Although her untimely death at age 11 casts an eerie pall over the entire performance, she deserves immense credit for what she was able to deliver without the shadow of tragedy. Simultaneously angelic and uncanny, her performance crystallizes the tension of the film with a thoroughly engaging, disturbing, immensely adorable charm. It's hard to explain rationally, and it may just be a credit to whatever director happened to be coaching her, but it's a performance that you feel in your gut, not your brain.

I'm a little in awe of how mystifyingly unsettling she is, and what happened to her is a damn shame.

But for all that Poltergeist is genuinely frightening, it also packs a keen sense of fun. Another tally mark in the "Spielberg" column, the film is like an amusement park adventure ride, with an unflagging levity weaved throughout the horror. Jerry Goldsmith's score compounds this tone tremendously, with a leeringly creepy spin on childhood nursery rhymes that tilts unexpectedly into open-faced childlike wonder.

I have some personal qualms about the overlong ending, which plays off like a laundry list of VFX sequences that were conceived in the brainstorming process but were forgotten until the end of production and haphazardly shoved in one after the other like shiny playthings in a toddler's toy box. 

It also doesn't help that nearly every single one of these effects are by far the best (and most credible) of the entire film (a personal favorite being the elongating hallway). And all of them take place after the conclusion of the film's climactic sequence.

But honestly, any faults with Poltergeist, no matter how large, are mere nitpicks. There are enough that I hesitate to instantly proclaim its masterpiece status, but as a whole the film is an unutterable classic of the form, and I would scarcely dare to impeach that.

*Side Note: It is explicitly noted in the film that the house is not built on an ancient Indian burial ground. That little tidbit seems to have slipped away on the wind.

TL;DR: Poltergeist is a lavish, effects-filled thrill ride, but its most important value is as a treatise on the hazards and fears behind American suburbia.

Rating: 8/10

Word Count: 1568
Reviews In This Series
Poltergeist (Hooper, 1982)
Poltergeist II: The Other Side (Gibson, 1986)
Poltergeist III (Sherman, 1988)
Poltergeist (Kenan, 2015)

Docu-Mental

Year: 2006

Director: Scott Glosserman

Cast: Nathan Baesel, Angela Goethals, Scott Wilson
Run Time: 1 hour 32 minutes
MPAA Rating: R

Scream changed everything. For better or for worse, Craven's teen horror masterpiece revitalized slashers with a postmodern spin. But droll self-awareness and a jokey attitude began to choke out the genre. That kind of tone-hopping is best left to the masters and the inept handling of its knockoffs meant that the horror of the late 90's began to wane once more until the emergence of The Blair Witch Project in 1999.

By the mid-2000's, torture porn was occupying cinemas for the time being, allowing Behind the Mask: The Rise of Leslie Vernon to slip by unnoticed. And it's a darn shame, because Behind the Mask is the single best meta slasher this side of Kevin Williamson, combining the satirical tone of Scream with the low budget visual impetus of Blair Witch.

And, seemingly, the face of Spencer from iCarly.

Behind the Mask is a found footage movie like you've never seen it before, comprised of documentary footage shot by a grad student crew led by go-getting Taylor Gentry (Angela Goethals). Their subject is one Leslie Vernon (Nathan Baesel - who has since moved from behind the mask to behind the camera as an editor on Storage Wars), an aspiring slasher villain.

You see, this is a world in which the cinema of the 80's has come to life. Freddy, Michael, and Jason are all real killers, notorious across the country. Their brand of terror has inspired new killers to take up their mantle, providing the evil backdrop against which the good of the world can be measured, all through routinely slicing up groups of teens in remote areas.

It's a tough concept to wrap your head around with merely a two-paragraph summary, but this conceit drives the entire movie and is the element which elevates Behind the Mask to neo-classic status. Any old movie could make some jokes about its generic elements, but only writer/director Scott Glosserman has been creative and intelligent enough to take that one step further, giving us a glimpse into the behind-the-scenes of the life of their killer as he prepares to stalk his virginal victim, curates spooky legends around himself, and explores the phallic and yonic imagery of his murder spree.

Carol J. Clover would be proud.

So not only does Behind the Mask bring a sense of winking familiarity with the genre, it applies a knowledgable analysis to its satire. It also beefs up the limitations of the found footage genre in a huge way, interspersing the documentary footage with staged footage of the "movie" Leslie Vernon is creating when he stalks and kills his victims.

It is so elegant and shrewd that the seams in the film's reality are only visible to the grumpiest of viewers. They are certainly present (compounded with an unfortunate use of the phrase "survivor girl" in lieu of the widely acknowledged "Final Girl"), but by that point the film has any audience member worth their horror salt wrapped firmly around its finger.

This is largely thanks to its marvelously unique approach to the genre, but it also helps that the movie is chock full of genre references both brazen (Freddy, Michael, and Jason are nigh on mythic figures in this universe) and subtle (name-dropping the producer of Friday the 13th among others that I won't spoil here). The references don't hit with the sledgehammer efficacy of a Williamson script, allowing the horror-inclined viewer to approach them in a more organic and rewarding way.

And the cameos are top notch including Robert Englund as a Dr. Sam Loomis type character, Poltergeist's Zelda Rubinstein as a librarian, and Kane Hodder in a blink-and-miss-it appearance at the real Nightmare on Elm Street house.

1428 N Genesee Avenue. You're welcome.

Behind the Mask gets far with its premise, although its budget proves to be a liability in the performance department. Most of the teen actors are almost unwatchably bad. Honestly, I don't even care if this was intentional. When not just one, but all of your teen actors are bad enough to the point that I, the man who is in the process of watching every 1980's slasher film known to man, woman, and turtle, take notice, something has gone very wrong.

And the criminal lack of funding renders even the goriest kills a little tame, augmented by some truly troublesome digital effects. But the fact remains that, although these flaws would send a lesser film six feet under, Behind the Mask has such a strong conceit that it hardly amounts to a scratch. 'Tis but a flesh wound, I suppose.

And Nathan Baesel is such a revelation, it would take an entire army of community theater enthusiasts to take the bite out of his performance. He truly gets the script, bringing a warm humanity to the role that jars the audience, sending the humor skyrocketing.

Behind the Mask is a slow burn, and a subtle one at that, so I wouldn't advise breaking it out at your next slumber party, but I would unhesitatingly recommend it to anyone who deems themselves as a true fan of horror.

TL;DR: Behind the Mask: The Rise of Leslie Vernon is wicked clever, an inspiring satire of the slasher genre.
Rating: 8/10

Word Count: 890

Women In Horror Month: Scream Queens

Man, February is just rocketing by, isn't it? Here's one more post for Women in Horror Month before we say hello to March!

THE TOP TEN HORROR ACTRESSES

#10 Ingrid Bolsø Berdal (Cold Prey, Cold Prey 2, Chernobyl Diaries)

OK, I don't think there's anybody alive and conscious who thought Chernobyl Diaries was a good movie. But this Norwegian actress deserves as much exposure as she can get. Her character Jannicke didn't earn the #7 spot on my Top Final Girls list for no reason. Berdal manages to infuse her character with a dignity and passion that is far superior to what most American actresses in similar roles have been trying to achieve for over three decades now.

#9 Sigourney Weaver (Alien, Aliens, Ghostbusters)

'Nuff said. Sigourney Weaver didn't spend a lot of time in horror outside of the Alien franchise, but when she was here she absolutely killed it, providing one of the most memorable protagonists in horror history in a film that most people my age don't even have the attention spans to sit through. That's some staying power right there.

#8 Elsa Lanchester (Bride of Frankenstein)

Fun Fact: The Bride of Frankenstein only appears in one movie. And she's only in that one for about 45 seconds. The fact that this character has been so permanently etched into the minds of the public is due entirely to Lanchester's no-holds-barred horror performance as an inhuman creature who reacts with pure visceral horror at the visage of her similarly created husband. She has later stated that she based her performance on the movements of geese so you know she's a great and insightful actress because geese are the freaking devil.

#7 Sissy Spacek (Carrie, The Ring Two)

I'm sorry Chloë Grace Moretz, but y'all ain't got nothing on Sissy. The perfect outsider, her Carrie is angular and weird in a subtly intense way that could only happen in high school.

#6 Zelda Rubinstein (Poltergeist, Behind the Mask: The Rise of Leslie Vernon)

Honestly, I can't even tell if she's a great actress because I'm too distracted with being terrified by her voice. But that high tremulous voice is the most perfect fit for horror I've ever heard and the casting director who hired her for Poltergeist can expect a lavish Edible Arrangement at his or her doorstep from yours truly any day now.

#5 Tippi Hedren (The Birds)

I've frequently discussed my love for The Birds on this blog, so I won't belabor my point here. Just remember that this smoky blonde provides a chewy caramel center for all the avian ridiculousness and grounds the horror in a real, imperfect, but perfectly relatable character.

#4 Toni Collette (The Sixth Sense, Fright Night)

Poor Toni has been playing bedraggled mothers for decades at this point. All I can say though is that she does a great job at it. Her scene in the end of The Sixth Sense where her son relays a message from her deceased mother is one of the only film scenes that never fails to make me cry. She is the single best element of a great film that elevates it above what could have been a simple ghost story into a supremely satisfying family drama as well.

#3 Jessica Lange (American Horror Story)

Jessica Lange, man. Her late career shift to horror came out of nowhere, but this diva has a wicked streak as broad as Ryan Murphy's paycheck. She flawlessly habits characters as far ranging as a drunken neighbor to a drunken nun to a drunken witch. All kidding aside, Lange's acting prowess is as compelling as an electromagnet.

#2 Jamie Lee Curtis (Halloween, Halloween II, The Fog, Prom Night, Terror Train)

Another gimme. Jamie Lee Curtis is responsible for basically the entire decade of the 80's and is the single best actress to ever carry the Final Girl mantle. Beautiful but not overwhelmingly so. Compelling but not pretentiously so. Jamie Lee occupies that space exactly in between Oscar pandering and method acting. She's nothing but entirely real.

#1 Frances Conroy (American Horror Story)

Frances Conroy is a trouper. Given the most nonsensical character in the third season, she managed to make it her own and spawn a veritable army of internet memes in her wake. She throws herself with hurricane force into her meaty roles (my favorite obviously being Moira, the maid with a dark secret) and finds the reality in some fantastically surreal characters. She certainly doesn't get as much love as she should, so please. Write her a letter. Send her a lollipop. Something.

Thank you so much for supporting Women in Horror month alongside me! It's been fun while it lasted, but remember what Cassidy always says: "It never stops being women in horror month." And it's true. There's always time to appreciate the importance of the female gender in the development and success of the horror genre. And if you stick with me, I'll be sure not to disappoint.
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