Not many people remember this little-known Canadian film from 1985. It’s not as popular as, say, The Goonies, Flight of the Navigator, The Monster Squad, or any of the other eighties family films that are typically remembered fondly. Technically, it’s not even a Halloween film – not even remotely related to Halloween, aside from the presence of a few ghosts and a few horrific subplots. I place it in this category, though, because as a child of the eighties, I was forced to watch this film at daycare numerous times – and each time, it scared the living daylights out of me. It may as well be a horror film for all I care. It certainly is one of the strangest “children’s films” that I have ever seen in my life, and you can’t really accuse it of being derivative.

Okay, I’ll just admit it. I’m a huge fan of this sick and demented film. For a film that was clearly marketed towards children, it is one of the most inappropriate and horrifying films of its kind. It’s right up there with Return to Oz, in regards to its off the hinges, completely bonkers, let’s-scare-the-shit-out-of-you audacity.

The Peanut Butter Solution tells the story of eleven year old Michael Baskin, who lives at home with his father and older sister. His father is a struggling artist who hasn’t sold a painting in quite some time, and this is a problem, as he is the sole breadwinner. His wife is away, as her father has recently died, and she is dealing with her side of the family who live far away. Michael’s older sister is super annoying, and she attempts to fill her mother’s shoes by donning her mother’s bathrobe and doing simple chores around the house. Michael doesn’t appreciate this in the slightest, and makes no effort to mask his contempt.

Michael spends his days at school with his friend Connie. They both attend an art class, which is being taught by a creepy Frenchman, simply called The Signor. He speaks in a heavy accent, sports a strange sort of gray fro, and discourages his students to use their imaginations. We know right off the bat that something is not quite right with The Signor. Whenever he is on screen, the creep-o-meter jumps up to alarming rates. We want to get away from him and his little dog, too. Yes, The Signor takes his little dog with him wherever he goes. The dog is just as creepy as he is – guilty by association.

One day, as Michael strolls around the neighborhood with Connie, they come upon a dilapidated old house which supposedly caught on fire a few nights previous. Connie dares Michael to check out the remains, and so Michael climbs up a pile of debris and into the window to look inside. All of a sudden, Micheal screams and comes tumbling out of the house and onto the ground totally unconscious, the hairs on his head standing on end. Connie somehow manages to get his friend into a grocery cart and takes him home. Michael’s father and sister are all very casual about the situation – nothing really surprises them – and they put Michael to bed. The next morning, Michael wakes up to find that he is completely bald. A trip to the local quack of a doctor confirms that Michael has been a victim of a phenomenon called “harum scarum”, in which a person becomes so frightened that it causes his or her hair to fall out. Michael assumes that this is all nonsense. He is positive that his hair is going to grow back – until it doesn’t.

One night, as a depressed Michael tosses and turns in bed, he is visited by two bohemian ghosts who give him a secret recipe for a magical concoction containing rotten eggs and Skippy peanut butter that is guaranteed to stimulate hair growth.

Let that sink in for a minute.

Got it? Good. So, one of the ghosts warns Michael that the experiment could go wrong if he uses too much peanut butter. She’s very vague, but Michael promises her that he will use only a small amount. After the homeless ghosts exit the premises, Michael makes his first attempt to mix together the peanut butter solution, only he uses a blender and wakes the family up. His sister pours the “smelly gop” down the sink. The next attempt is much easier, as Michael mixes the ingredients in a bowl in the privacy of his own room, only he uses, like, half a jar of peanut butter.

Michael doesn’t follow directions very well, nor does he take heed to strange warnings from hobo spirits.

He puts the solution on his head with a paintbrush, and when he wakes up in the morning, he has hair. Only his hair keeps growing. And growing and growing. This is a problem. Before long, Michael starts to resemble Cousin It from The Addams Family. He can barely walk in a straight line because of all of the weight on his head. His loyal friend, Connie, is kind enough to trim his hair from time to time, but apparently the sound of snipping scissors is disruptive to the class, and so he gets booted out of school.

Speaking of Connie, this is one strange kid. Not only does he keep a box full of “pet ants”, he convinces Michael to let him use the peanut butter solution on his pubic area. You read that correctly. And, as you have probably guessed, the hair won’t stop growing. We see the pubes wriggling out of Connie’s jeans. Connie talks to the pubes. He communicates with them – and they listen. When he tells them to stop growing, they do as their told.

This is what it was like to be a child of the eighties. While the children of today are treated to CGI Smurfs, we got movies featuring sub-plots about demonic pubes.

Back to Michael. Despite the fact that the school faculty wants nothing to do with him, Michael refuses to be discriminated. He walks to school on an extremely windy day and almost gets blown away, so he stops for a minute to sit on a street corner. Suddenly, a stranger approaches, and before you know it, Michael is kidnapped.

It turns out that The Signor has been kidnapping local children, holding them hostage in a strange factory where he makes magical paintbrushes using clippings of Michael’s hair. Connie and Michael’s sister put two and two together, and set out to rescue Michael and the rest of the kids from The Signor’s evil clutches. Speaking of the paintbrushes, they really are quite magical. You see, they can bring paintings to life. You can step inside of these paintings and walk around.

Really cool or unforgivably disturbing? You decide.

For the rest of the film, we will see if Connie is successful in his rescue mission. Will Michael survive this situation? Will he ever have normal hair? And what about The Signor? Will he get his comeuppance? You’ll have to see for yourself — if you’re lucky enough to find this film, that is. It was never released on DVD or Blu-ray. This is really a shame, as this film is truly one of a kind. If David Lynch, Tim Burton, and Satan decided to collaborate on a movie and paid Celine Dion to write two creeptastic original songs for the project, the results would look a lot like The Peanut Butter Solution.

Honestly, this is a really well-made film. You certainly can’t fault it for a lack of originality. I’m racking my brain to think of something else that I could compare it to, and absolutely nothing is springing to mind. I say this about a lot of films, but The Peanut Butter Solution has to be seen to be believed.

I’m not making any of this up. The Peanut Butter Solution exists. You need to take a moment to thank the gods of cinema for this little gift.


Watch the trailer in the SCREENING ROOM. 

There are so many things that can be said about The Rocky Horror Picture Show. This is a film that has to grow on certain people, but as for everyone else – well, let’s just say it’s an obsession. We simply love and embrace the pure audacity of it all. The Rocky Horror Picture Show is an outlandishly bawdy homage to B-movies, sci-fi, and horror – with some of the catchiest songs ever written and some of the strangest characters that you will ever meet.

The Rocky Horror Picture Show is narrated by a man simply credited as The Criminologist (who has no neck) and tells the story of Brad and Janet, a clean cut, newly engaged couple who happen upon a creepy castle on a dark and stormy night. Once inside, they realize that the castle is inhabited by transvestites from the planet of Transsexual in Transylvania. Once they meet the ringleader, Dr. Frank N Furter, the fun really begins – and Brad and Janet will never be the same.

The cast is to die for. As Dr. Frank-N-Furter, Tim Curry tears up the screen. He chews up every bit of scenery in which he is present. His performance certainly does deserve the acclaim that it has received. It is a master class in extreme camp! Not every man will dress up in a teddy and fishnets, but Tim Curry grits his teeth, bares his claws, and dives in to the role with total abandon! The other actors simply do not have time to breathe around him, and yet they manage to hold their own. Susan Sarandon and Barry Bostwick play our hero and our heroine, Brad and Janet, the nuttiest duo to ever grace the silver screen. Meatloaf also has a memorable role as a man named Eddie, who shares half of his brain with Frank-N- Furter’s latest creation – a blond, buff, and not entirely bright male sex toy named Rocky, who spends most of his time running around in a golden Speedo. Rocky also successfully seduces the virginal Janet, who (gasp) was supposedly saving herself for her fiancee, the conservative Republican asshole, Brad! Oh, Janet! You slut!

Oh, yes. There will be corruption! This is a tale rife with sex, murder, and all manner of debauchery! And let’s not forget about the singing! You’re just gonna love Frank’s floor show!

The Rocky Horror Picture Show works with or without the element of audience participation that has given the film its legendary status over the years. It is one of the great camp classics of all time. It is one of only two films that Jim Sharman directed – the other being a lackluster sequel to Rocky Horror, entitled Shock Treatment. However, Sharman has given us one of the greatest cinematic gifts of all time with Rocky Horror. If you are willing to let go and enjoy the ride, you will have a blast. Fans should definitely run out and grab the Blu-ray, as the transfer is absolutely gorgeous. The Rocky Horror Picture Show has never looked better! The new sound mix is also to die for. The music comes in loud and clear, just the way you want it to, from the opening strains of “Science Fiction Double Feature”, to the “Time Warp, to “Sweet Transvestite”, and, finally, to the very last musical number, “Superheroes”, which is included on the U.K. version of the film. Aside from the restored print and sound, the disc is jam-packed with special features. It is a must- own.

Assholes! Sluts! Take notice: Halloween isn’t Halloween without The Rocky Horror Picture Show! It will make you shiver with AN-TI-CI...PATION!

Watch the trailer in the SCREENING ROOM. 

Garfield’s Halloween Adventure is yet another one of those eighties Halloween specials that I simply cannot live without. There is just something about that sarcastic kitty cat that cracks me up, and I watch this special every year.

When the special opens, Garfield is rudely awakened by Binky the Clown, who informs the lazy cat that it is Halloween – and that on Halloween, he can get lots and lots of candy. Shortly after hearing this news, Garfield springs into the kitchen, grabs his canine pal, Odie, and they dress as pirates – peg legs and all – before heading out into the night to go trick or treating.

Along their way, Garfield threatens the local residents – as some of them are a bit stingy with their candy – and both he and Odie encounter a few creepy trick or treaters. No need to worry about Garfield, however, as the sing-songy music over the soundtrack informs us that “the one thing he’s not is a scaredy cat”.

Garfield has an ulterior motive for bringing Odie along, as it turns out. He plans on using the poor puppy as a means of getting more candy, and Garfield doesn’t plan on sharing that candy any time soon. When the two friends hop on board an abandoned canoe and head down the river, they come upon a seemingly abandoned house in the middle of nowhere. Once inside, they run into one of the creepiest old men in the history of animation. He tells them that he once was the cabin boy for a group of evil pirates, who buried their treasure in the house that Garfield and Odie now inhabit. The pirates made a vow that they would return from beyond the grave to claim their treasure.

Little do our friends know that the long dead pirates will be paying them a visit on this very night.

Garfield’s Halloween Adventure will prove to be a joy for anyone who decides to give it a try, especially those of us who are nostalgic for the Halloween specials of the eighties. This is definitely one of the best. When I was a kid, I always thought that it perfectly captured the experience of Halloween and trick or treating. I always looked forward to the “adventure” that Garfield and Odie embark upon. It really gave me the creeps – and still does, to some extent. As with all of the other Garfield specials, the fat cat will learn a few life lessons, and there will be plenty of laughs along the way – and, in this particular case, maybe a few playful frights. Well, maybe not so playful. Those ghostly pirates are pretty damned creepy. And don’t even get me started on Binky the Clown.

Watch a clip from "Garfield's Halloween Adventure" in the SCREENING ROOM.

In 1986, the good folks at The Haunted House Music Company released a follow up to their previous album, "Haunted House", entitled "The Ride of the Headless Horseman". 

As the record begins, an ominous narrator tells the tale of Ichabod Crane and his fateful night at Sleepy Hollow. This is actually a very good recording, and the producers took advantage of every single track in their library of sounds. We've heard Washington Irving's classic tale countless times over the years, but it never gets old - for me, at least - and I throughly enjoyed the version that is provided for us on this album. 

As with many albums of this sort, the rest of the record is solely devoted to individual creepy sounds, with a few playfully sinister music tracks to round it out. "The Ride of the Headless Horseman" is now out of print, but you can find it on eBay and Amazon.com in used and new conditions. 

I recommend it! Once again, I have to thank Greg for this find! Thanks, Greg! 

Listen to "The Ride of the Headless Horseman". 

Back in the seventies, filmmaker Tom Davenport had a vision of re-telling modern day versions of fairy tales in an Appalachian setting. The first entry of this series, entitled "From the Brothers Grimm", was Hansel and Gretel: An Appalachian Version. It was filmed on a budget of $10,000 in Virginia, and released in 1975.

This is one of the first films that I can remember from my childhood that actually had a great impact on me. It terrified and inspired me. It was an incredibly disturbing take on the classic tale of child abandonment, witchcraft, and cannibalism. It was shot in a neo-realist, matter-of-fact fashion and felt authentic as a result. It didn't feel like a fairy tale, it felt like a nightmare - and I fell in love with it. The music, the rural setting, and the understated performances all came together to create a sense of unease and danger. You could call this my first exposure to the horror genre for many reasons. In fact, the film was rather controversial upon it's release. As Davenport recalls on his website, "When we released "Hansel and Gretel, An Appalachian Version" in 1975, it created immediate controversy. The realism of the live-action style and the fidelity to the old folktale upset some reviewers who considered the frightening aspects of film inappropriate for children. However, many other children's film specialists recognized the film's overwhelming popularity with young children, and saw it as a positive breakthrough in children's films." 

Hansel and Gretel: An Appalachian Version was groundbreaking in its approach to children's programming.

I won't go into a synopsis. By now, you know the tale. I can only encourage you to seek this one out. It took me several years to find the film, and when I finally did, it wasn't until after the DVD had been released. The "Brothers Grimm" films are now available on Amazon Instant Video. I suggest that you check every single one of them out, starting with Hansel and Gretel.

Watch the first minute preview in the SCREENING ROOM. 

Disney’s Oz: The Great and Powerful was a huge smash, raking in over 478 million dollars worldwide so far. However, this isn’t the first time that Disney has tackled L. Frank Baum’s beloved Oz series.

Fantasy films were all the rage in the eighties, what with Ridley Scott’s Legend, Jim Henson’s Labyrinth and The Dark Crystal, as well as Return of the Jedi, among others. At some point, Disney decided to contribute to the craze and, before long, Return to Oz was in pre-production. Disney had acquired all of the rights to L. Frank Baum’s Oz books and many attempts to begin a project had failed, until now.

As word began to spread, fans of the original Oz film were reluctant to celebrate at first, but quickly joined in the hype once film stills began to show up. A return to Oz! Something that many had been anticipating for years! And to top it all off, Walt Disney Productions was at the helm! What joy! Another magical, musical romp for all ages!

They had no idea.

Film editor Walter Murch was signed on to direct the $25,000,000 project – his first feature film ever. Disney gave him the go ahead to write the script, and even though the executives were quite nervous about the bleak approach to the material, they proceeded and filming was set to begin in late December of 1983. Murch set out to find his Dorothy, and after an enormous casting call, he found her in nine year old Fairuza Balk. She was perfect for the role. Walter Murch recounts his discovery of Fairuza in this quote from an interview with the Chicago Tribune in 1985: “There were so many that we looked at who tried to be as much like Judy Garland as possible, and I discounted them for that very reason. From the beginning, Fairuza was very aware that this would be her Dorothy. I encouraged her to become herself.”

After a new studio head was hired at Disney, production was temporarily halted, as the film was exceeding the original budget. Murch cut the script by twenty pages, but retained the dark tone of the material. Murch was eventually fired and a new director was assigned to the project, until George Lucas came to his aid. Lucas looked over the production schedule, which he claimed was “ridiculous”, and looked over the material that had already been shot, calling it “wonderful”. Soon, Steven Spielberg, Phil Kaufman, and Francis Ford Coppola flew in to support Murch – and before he knew it, the disheartened director was attached to the project once again.

Return to Oz was released on June 21, 1985. All of the waiting was over. People from all over the world flocked to the theatres to see the film – and many of the children that were present would never be the same. The film was considerably darker than anyone could have ever imagined.

Return to Oz opens in Kansas, shortly after Dorothy’s first trip to Oz. The young girl cannot sleep through the night, and Aunt Em and Uncle Henry are more than a little concerned about Dorothy’s mental state. So they send her to Doctor Worley, who is known for his “electric healing” treatments – also known as electro-shock therapy. Left in the hands of a terrifying nurse and the quack of a doctor, Dorothy prepares to undergo treatment that very night, and as she is wheeled down the hallway strapped down on a stretcher, she hears the screams of “damaged” patients echoing down the halls. Through a random occurrence of events, a storm approaches and lightening knocks out the power in the building. The doctor leaves the room to remedy the problem, and almost immediately, another young girl comes to the aid of Dorothy, removing her straps. The two escape the building, with the nurse following after them. They jump into the river to escape; only Dorothy manages to survive by clinging on to a decrepit chicken coop. The other girl vanishes underwater. 

Fun times for the family, right?! You haven’t heard anything yet.

Once Dorothy arrives in Oz, she soon realizes that the yellow brick road has been demolished, and that the Emerald City and all of its inhabitants have been turned to stone – and to add to the creep factor, some of the ladies are missing their heads. As Dorothy wanders through this post-apocalyptic wasteland, she encounters the Wheelers – strange little steam-punk creatures who have wheels where hands and feet should be, and skate around on all fours whilst cackling and barking out threats. She also meets Billina the talking chicken, Tik-Tok, a lovable, rotund clockwork robot who considers himself “the Royal Army of Oz”, and Jack Pumpkinhead – who is much like the scarecrow, only he has a jack-o-lantern for a head. He’s a clumsy, tall and lanky, albeit precious creation that takes a liking to Dorothy – he calls her “mom”. Sounds sweet, huh? Yeah, well, Dorothy also meets Princess Mombi – an evil witch who works for the Nome King, and has a room full of glass cabinets, each one of them containing a different head – each head possessing a different personality.

Let the screaming begin! (This is terrifying stuff. Don’t believe me? Watch this clip.)

Mombi temporarily captures Dorothy and her friends, and they manage to escape with the help of a magical flying sofa-Gump. They head out to the Nome King’s castle to rescue the Scarecrow, the Cowardly Lion, and the Tin Man – all three of whom have been turned into green ornaments. In case you were wondering, the Nome King is a terrifying rock demon, who just so happens to be allergic to chicken eggs.

Needless to say, parents around the globe were furious. Word of mouth spread, and parents and children stayed away in droves. The film disappeared out of the collective consciousness for years, until it garnered a cult following, and was released on DVD. Walter Murch has yet to direct another feature since the film failed miserably at the box office, and the executive producer went bankrupt.

Truth be told, this is a fantastic film in every sense of the word. Walter Murch’s direction and writing is solid, the acting is wonderful from all involved, and David Shire’s score is nothing short of magical. The darker tone of the film is true to L. Frank Baum’s original vision, and it fits like a glove.

Personally, I have always preferred Return to Oz for a myriad of reasons, and it was a special part of my childhood. I know whereof I speak. I was one of the many terrified children, scarred forever from the images onscreen. My mother carried me out of the theatre, my face buried in her shoulder, tears stinging my face. I had nightmares for years afterwards, and this film was forbidden in my home for quite some time. I have always been attracted to things that, for whatever reason, have damaged me in some way. I sought after the film for a few years, as it was nearly impossible to find. Anchor Bay finally released the film in August of 1999. I purchased it right then and there, as well as the official Disney release some years later. I love it dearly to this very day, and consider it one of my favorite Disney films.

Although it was heavily misunderstood upon its release, many have reevaluated it since, and have finally embraced it for what it is – a curious oddity, the first Disney horror film, but most especially, a small masterpiece.

Watch the trailer in the SCREENING ROOM. 

Previously published on CultureMass.

Justin Cole’s The Upper Footage is a small masterpiece. It is one of the best films of the year – and it just so happens to be a “found footage” film. Yes, it’s one of those. Before all of the haters chime in, know that The Upper Footage is one of the most effective films of its kind that I have seen in quite some time, possibly ever.

The Upper Footage follows a group of pretentious, spoiled New York socialites as they set out to have a night on the town, complete with drugs and possible sexual conquests. When they meet a naïve young woman named Jackie at a bar, they immediately whisk her away to a swanky apartment and proceed to give her copious amounts of cocaine and alcohol. When Jackie has a graphic overdose and dies, the snobby brats flip out and decide to ditch the body.

Don’t let that simple little synopsis fool you. There is much more here than meets the eye. Justin Cole and Co. went out of their way to convince the public that this was indeed a case of actual “found footage”. Entertainment Tonight bought into the hype, and somehow or another, Quentin Tarantino’s name got mixed up in all of this. A considerable amount of controversy began to follow this film, and ultimately, Justin Cole had to release the film independently. Of course, we all know that this is fiction – but as we are drawn deeper and deeper into this film, it doesn’t feel that way. It becomes dangerously real.


The performances here are nothing short of superb. This is quite possibly one of the best ensembles that I have seen since Jacob Aaron Estes’ Mean Creek. There isn’t one false note to be found here, which makes the experience all the more authentic and unsettling. There is something about the material here that is timely and incredibly urgent. The things that we are witnessing on the screen aren’t that far removed from some of the stories that dominate the nightly news – not to mention similar incidents that may or may not be covered up completely as a result of money and social status. Director Justin Cole understands this. He does not set out to merely shock, but to enlighten – to snap us out of our self-satisfied comfort zones.
The Upper Footage is powerful and infuriating. It is one of the most important films of the year. Think of it as a cross between The Blair Witch Project and the work of Bret Easton Ellis, and you’ll have a good idea of what you are getting into. Justin Cole is one to watch.

The Upper Footage is available to view exclusively on Vimeo VOD.

Watch the trailer in the SCREENING ROOM. 

In 1977, A&M Records released their very own Halloween sound effects album, entitled "Halloween Horrors". 

Most of us remember this album because of the first half, which is basically a fourteen minute story about a young man who drives to an old haunted plantation on Halloween night. Once he arrives, he finds that he is not quite alone. The ghost of a woman resides there, and soon enough, we begin to hear her cry, "My baby....have you seen my baby?" As if all of that weren't disturbing enough, there is also an encounter at the beginning and end with an old gas station owner, who is pretty creepy all on his own. 

"Halloween Horrors" is unique because Side A is dedicated entirely to this one story. It is lots of fun and very involving. You can see the events play out in your head, allowing your imagination to run wild. Those who have grown up with the album have never forgotten it. 

Side B consists of individual sound effects, and listeners are encouraged to come up with their own stories using these effects. They would also be useful for Halloween night as ambient noise for the trick 'r treaters! The album has long since been out of print, but you can find it used on Amazon.com, as well as eBay. 

Listen to "The Story of Halloween Horror".

Donnie Darko is one of my all-time favorite films. I saw it for the first time in 2001 on VHS (the only copy available in Easley, South Carolina) after I had followed the film on the internet months before the street date. Since then, I've seen the film over fifty times. I keep coming back to it. And why wouldn't I?

Director Richard Kelly’s film debut follows Donnie Darko, a young man with schizophrenia. One night, Donnie sleepwalks out of the door of his house and on to his front lawn, where he is visited by Frank – a six-foot tall man in a rabbit suit – who tells Donnie that the world is going to end in twenty-eight days. Shortly after this revelation, a jet engine crashes through the roof of his house. No one knows where the jet engine came from. From this point on, Donnie begins having dark visions and may even develop telekinetic powers, as Frank guides him on this journey, occasionally asking him to carry out certain tasks – some of which are destructive in nature. With the help of his girlfriend, Gretchen, as well as his psychiatrist, and a mysterious elderly woman named Roberta Sparrow (affectionately nicknamed Grandma Death) it is up to Donnie to save the ones that he loves as the end of the world draws nigh.

There are five reasons why this film still resonates with me, as well as many other devoted fans:

1.) The Setting: Donnie Darko takes place in the fictional town of Middlesex, VA in October. The year is 1988. From the supporting characters to the leads themselves, the people of Middlesex are mostly likable creating a sense of community. You will enjoy getting to know these characters – some more than others. Like David Lynch’s "Twin Peaks", Middlesex is enshrouded in mystery. It is a place where anything can happen.

2.) The Mood: From the opening credits to the unforgettable climax, director Richard Kelly creates an ethereal atmosphere, using slow, meticulously choreographed tracking shots, as well as other unusual filmmaking techniques that draw us further into the world that he has created. This is one of the many reasons that Donnie Darko remains an altogether addictive experience.

3.) The Music: If you are already a fan of Donnie Darko, you know that composer Michael Andrews’ beautiful synth score is the heart of the film, as well as Gary Jules’ iconic cover of “Mad World”. Who could forget the opening sequence set to Echo and the Bunnymen’s “The Killing Moon” or the tracking shot set to Tears for Fears “Head over Heels”? These moments are memorable largely because the music brings them to life.

4.) The Mystery: Richard Kelly refuses to spoon-feed his audience, which is why Donnie Darko is an ambiguous experience that leaves us with many questions rather than answers. True fans of the film wouldn't have it any other way, which is why many of us balked at the Director’s Cut, which attempted to explain away the mystery. The loose ends allow for multiple interpretations. We always have a reason to return to Middlesex, VA.

5.) Frank: Yes, Frank. The six-foot tall man in a rabbit suit. He is the guardian that guides Donnie through the portal, leads him down the rabbit hole, and teaches him about the joys of time travel. Without Frank, there is noDonnie Darko. Frank is one of the most memorable imaginary friends in the whole of cinema, right next to Jimmy Stewart’s Harvey. Frank is awesome.

I have given you five reasons why Donnie Darko is one of the best films ever created, and now you have to see it for yourself. Starring Jake Gyllenhaal, Jena Malone, Drew Barrymore, Beth Grant, Noah Wylie, Holmes Osborne, Mary McDonnell, James Duval, and the late, great Patrick Swayze, it is a film that you will never forget. It's also the perfect film to watch on or around Halloween.

Watch the trailer in the SCREENING ROOM. 

The House of the Devil is an incredible horror film. I’ve heard reviewers compare this film to the early work of Polanski, and I would have to agree. If you took the isolation and the paranoia of Repulsion and the satanic horror of Rosemary’s Baby, put them in a blender and poured out the contents, you’d probably get something like The House of the Devil.

The House of the Devil tells the story of a young college student named Samantha (in a near-perfect performance from Jocelin Donahue) who is in need of some quick cash, so she ends up accepting an offer to baby-sit for an extremely creepy old couple (screen legends Tom Noonan and Mary Woronov) in an ominous house in the middle of nowhere, much to the disapproval of her quirky best friend, Megan (a hilarious Greta Gerwig). In fact, once she arrives, she soon finds that the couple has invited her over under false pretenses. They have no children to speak of. Samantha is there to look after the old man’s supposedly bed-ridden mother. Naturally, Samantha immediately wants to leave, but the old man – named Mr. Ullman – offers her four hundred dollars to stay. Desperate for the money, Samantha reluctantly decides to stay. The Ullman’s leave the premises, as Samantha settles in to this strange place.

As the night progresses, Samantha makes several disturbing discoveries and begins to realize that everything is not what it seems. She may be in real danger. However, the film does not arrive at this conclusion quickly. Director Ti West lets the sense of dread build for a good solid hour of the running time. This does not detract from the film, but only adds to the creep factor. The House of the Devil is drenched in mood and atmosphere. The house that Samantha inhabits for the majority of the film is as much of a character as anyone or anything else. The audience is alone with Samantha in this house, and as she explores, we are sitting on pins and needles. You’re never quite sure what is going to be around the next corner, or in the next room. The film has an eighties feel that I really enjoyed – in the tradition of Tarantino’s Grindhouse, but less extreme. The opening credits sequence is worth the price of admission alone. The score, composed and conducted by Jeff Grace, is heavy on the strings and incredibly effective. As far as scares are concerned, you’ll never forget the last fifteen minutes!

Ti West is one of the best directors currently working in this genre. He knows how to meticulously craft a horror film, placing an emphasis on mood and atmosphere, rather than cheap jump scares and gore. I highly recommend The House of the Devil. The performances are excellent, and the production values are extraordinary; however, it is not for the squeamish! 

Watch the trailer in the SCREENING ROOM.