Text © Richard Gary / Indie Horror Films, 2019
These two reviews are together
because both were based on the literature of master writers who are as vibrant
today as they were in their own time around the turn of the 20 Century. Bram
Stoker’s Dracula is a must read, and HP
Lovecraft’s tales of the Old Ones and Cthulhu resonate today. However, these
films are based on lesser known works, which I believe make them compelling.
Are they loyal to the source work? Of course not, much like depictions Dracula and the films about the octopus-headed evil
god. But that doesn’t mean we can’t enjoy, right?
Bram Stoker’s Shadowbuilder (aka Shadow Builder)
Directed by Jamie DixonApplecreek Communications / Hammerhead Productions /
Imperial Entertainment / Moonstone Entertainment / MVD Rewind Collection
101 minutes, 1998 / 2018
www.mvdvisual.com
“The Shadow Builder,” on which
this is kind-of-based, is from Under the
Sunset, Bram Stoker’s first collection of short stories (HERE) that was published in 1881. In the
original, the titular character could be envisioned as a sorrowful “Death”
(sans scythe), who comes for a family when it’s their time (yes, I’ve read it).
Like many tales of its period, where authors were paid by the number of words,
it’s filled with imagery and adjectives more than narrative story, e.g., “The lonely Man’s heart grows heavier and
heavier as he waits and watches, whilst the weary time passes and the countless
days and nights come and go.”
And then there is this film, in which nearly everything changes or is
given a more structured plotline than the original. A coven led by an evil
priest resurrects the Shadowbuilder [SB]
through a sacrifice and blood ritual. Rather than morose, it/he is an malevolent
being with no foreboding or sadness, but rather is a creature who is after a
young boy, Chris (Kevin Zegers) who is pure of heart and may become a Saint one
day (yes, you read that correctly).
Andrew Jackson |
On the side of light is a warrior priest, Father Vassey (Michael Rooker,
of Guardians of the Universe fame,
though for us genre fans, he will always be the titular mass murderer of 1989’s
Henry: Portrait of a Serial Killer),
Chris’ mom Jenny (Leslie Hope), and her boyfriend, Sherriff Sam (Shawn
Thompson). Also in a quirky extended cameo role is the great Tony Todd as a
nutzoid Rasta dude with an eyepatch named Covey who, of course, is an important
lynchpin to the storyline.
Michael Rooker |
I really liked the religious aspects of the film, which both assures and
questions religious fervour at the same time; whether God actually does
intervene or is a “stand-back” kinda guy. On one hand is mentioned “an eye for
an eye,” and then someone smarmily calls the end of the world “The Book of
Rationalization.” It is smart to swing both ways like that, even though it’s
pretty obvious they stand by God of Creation and certainly Jesus: while it does
get only a little bit heavy handed in that way, it does not interfere with the story,
so I’m okay with it, being the non-religious person that I am.
There’s lots of jump
scares that work, some nice blood effects, a
ton of digital effects that are reminiscent of Raiders of the Lost Ark (1981), and a large body count that help
boost the payload of enjoyment.
The Blu-ray has many extras, most of which are new for this re-release: The first one up is the “Making of the Shadowbuilder” featurette (32:22), which presents the director, writer Michael Stokes and its actors Jackson and Todd. There is also a “Shadowbuilder: Visual Effects” featurette (13:26) and also a look at “Shadowbuilder: Kevin Zegers” piece (5:00); it is pretty obvious they were all recorded at the same time and then edited into different groups. Luckily, all three are entertaining, especially the effects one as the director describes how he helped create a digital layering technique that was used in a ton of mainstream features, such as Terminator 2: Judgment Day (1990).
Tony Todd |
Some other cool odds
and end extras include a reversible, two-sided cover artwork, the trailer for
the original release as well as other coming attractions, a poster folded into
the clamshell case, and some subtitles that didn’t really work well off my
Blu-ray player.
Like I said, some of the plotline is
questionable, and other than the barest of connection to the original short
story, but it’s a fun ride.
H.P. Lovecraft’s The Unnamable (aka The Unnamable)
Directed by Jean-Paul OuelletteUnearthed Films / Yankee Classic Pictures / Unleased Classics / MVD Visual
76 minutes, 1988 / 2018
www.unearthedfilms.com
www.mvdvisual.com
The
original short story on which this film is very loosely based was first
published in Weird Tales in July 1925 (HERE). While
both take the longer route to get to a point or anywhere near a plot, Stoker’s
style was languid, while Lovecraft uses his writing editing the same way film
does, with sharpness and snippets to express excitement, such as this nameable
description of the unnameable: “It was
everywhere — a gelatin — a slime; a vapor; — yet it had shapes, a thousand
shapes of horror beyond all memory. There were eyes — and a blemish. It was the
pit — the maelstrom — the ultimate abomination. Carter, it was the unnameable!”
(Yes, I’ve read it, too.)
This is
director Jean-Paul Ouellette’s first film, and he takes the initial tale and uses
it as the starting point (after the obligatory prologue where we get some of the back story of Alyda Winthrop
(Katrin Alexandre), aka the named
Unnameable.
Mark Parra, Charles Klausmeyer, Mark Kinsey Stephenson |
Laura Albert |
Of course,
as time rolls on, physical contact with the titular creature will be
inevitable, leading to some really nice bloodwork effects and a decent body
count. The creature also looks pretty good, and it takes quite a while before
one gets to see it in whole (other than a quick flash that you’ll need to hit
the pause button to catch.
The acting
is a bit on the wooden side, but it’s somewhat forgivable as for most of the
players, this is their first roles. As I stated near the top, it’s also the
director’s first feature, so there is the learning curve of getting good
performances from the cast. No, my big issue is something that is endemic in movies
of this period, and that is the walking around the house (in this case; in
others, it could be the woods) with a flashlight or candle for extended
periods. Yes, I have discussed this before in other reviews, but in this film, if
combined, it must take up a good third of the entire running time. Then there
is door being locked in a house full of windows. Furniture goes out windows,
breaking glass. This might be a good time to mention that there is a very dark,
subtle humor that runs throughout.
An
interesting aspect of the film that is totally dated is the whole subplot of jocks
trying to get laid at all means possible,
including trying to get the ladies drunk and forced embracing. Or, as is also
true here and oft the case in horror cinema, the hot girl is all, “Hello, I
just met you an hour ago: let’s fuck!” These two scenarios made my skin crawl
more than the beastie, honestly. And yet, I liked the film, as ridiculous and
full of holes as it may be, it is definitely a piece of its time.
Eban Ham |
A full audio
commentary with Albert, Ham, Klausmeyer, Stephenson, Biggs and Calvet in included. As you
might guess by the sheer number of people contributing to this aural annotation,
it’s kind of a mess with some information, and a lot of talking over each other, sadly. Stick to the Jay Kay interviews for real info.
To add to the extras, there’s a photo gallery and various trailers, including
for this film.
There is a
sequel by the same director, The
Unnamable II: The Statement of Randolph Carter (1992) that has two of the
same main male leads, which I have not seen yet. Time will tell.
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