Text © Richard
Gary / Indie Horror Films, 2020
Images from the Internet
Chills Down
Your Spine
Directed by Matthew Kister
Dead Lantern Pictures; Popejoy
Productions
170 minutes, 2020
www.deadlanternpictures.com
When is a sequel not a sequel? Well, when it can stand
alone without seeing the first release, then it can be seen as a sequel or not.
Such is the case with this anthology. And when is an anthology not an
anthology? Stop asking questions, already, and let me write this review,
okay?!?!
This film is a pretty basic set-up as you watch it,
but explaining it is another thing. It’s in three parts that switch back and
forth, the first two being the bookends (yes, this one has two-two-two bookends
in one!). The thirds are the 10 tales of terror (i.e., horror shorts, or the
anthology proper).
In the first film, Shivers Down Your Spine
(2015), Jeff (Steve Eaton) asks a red-haired and tattooed genie, Sabiah (Megan Garcia)
to tell him stories. Note that I have not seen this release as of yet, but the theme
of the film continues with not one, but two sexy genies. This time, Jeff rubs
the lamp (keep it clean now) and Sabiah’s lookalike-but-blonde sister, Mahktoonah
(also Megan Garcia) – shades of “Bewitched” and “I Dream of Jeannie”; did you
know both TV lookalikes were created by the same writer? But I digress…) – that
Jeff hooks up with as he rubs the wrong (yes, lookalike) lamp. They set out on
a “Road Trip” (inspired by The Odyssey, so you know there’s a Cyclops
a-comin’, as it’s the one consistency in any story based on the Greek classic, and
the other “C” characters, Circe and Cassandra), and while driving, tell each
other stories.
Meanwhile, Sabiah has
been risen by a masked serial killer who mumbles and grumbles his words
(honestly, I can barely make out what he’s saying), using his wish to bind the poor
genie. She uses the time to delay by telling him stories (now this is more like
One Thousand and One Nights, which is fitting for the genie theme) in
the segment titled “C’mon Baby Light My Flame.” Of course, both genies are
relatively topless through the bookends. These two bits also recur throughout
the film, especially “Road Trip,” as we see variations of different segments of
the original’s set pieces.
So, what you have essentially, is three people telling
stories. The first one is “The Devil’s Corkscrew,” which is a tale within a
tale within a tale. A western which uses the Nebraska vastness to it’s
advantage, we meet a group of people who have stolen some gold and are trying
to make it to their chosen location, while a dark and mysterious gunman hunts
them down. Needless to say, the internal fighting between them is as bad as the
stranger that’s searching for them. The unexpected ending was actually nicely
done. I also like that they did a regular Western without trying to go for the overdone
Spaghetti Western style.
Playing around with genres (an anthology is the
perfect way to do that), next is “Isabelle Returns,” an animated story (the
work of W. Leitzel) of the raising of a malevolent dead spirit. It’s short and
sweet, but very satisfactory. I wouldn’t mind seeing more of it.
For “The Ditch,” it’s a very basic, nearly “Children
of the Corn” theme (no kids here) mixed with a bit of Lovecraft and The Texas
Chain Saw Massacre. It’s pretty basic with three characters who meet in
various stages along a less-traveled dirt road surrounded by cornfields. There
might be a surprise or two here and there for the viewer, but this minimalist
tale has a nice though easy to see coming twist ending.
Relying on a bit of giallo stylings, “Bed and
Breakfast” uses stark, primary colors and tilted angles to set off a mood, as a
young woman arrives as said B&B in the middle of a rainstorm. It also has
an Agatha Christie feel to it, as it seems to be placed in that time period. Rather
than meeting up with Rocky and doing the “Time Warp,” she meets the butler, who
is kind a generous, in a stiff way. There is a lot of nakedocity in this one
(no, I’m not making judgments), as this is also styled after the classic “Nudie
Cuties” of the 1950s and ‘60s (e.g., Hershell Gordon Lewis and Harrison Marks).
There’s also a feel of Tales from the Crypt, with at least three really
nice make-up effects.
You may have noticed the time length of this film,
which hovers close to three hours. Normally, I would whine about most films
longer than 90 minutes, but in an “Intermission” segment at the halfway point,
the genie-to-be in the third anthology film (to be made) called Tingles Down
Your Spine, reiterates what the director states, and in this case I agree;
Kister says, “Hey, we’re gonna give people as much content value for their
money as we possibly can, and oh, by the way, there is no requirement that
anybody has to watch a horror anthology straight thru in one shot.” The intermission
is kind of like “MST 3000,” as not only they comment of the film so far, but
also they talk directly to the audience (there is also a fourth wall break
about nudity early on in “Road Trip” that made me laugh).
Starting the second half is “Hysteria!” Well, right off
the back that had me hysterical is that the house front here is the same as in
the “Bed and Breakfast” story. Yeah, I do pay attention… This is a comic
mixture of a murder mystery, a burlesque troupe, ghosts, and a ventriloquist doll.
It’s goofy as hell, and I felt the weakest of the stories. I understand there
was supposed to be a “Scooby-Doo” feel to this, but maybe because I’m not a fan
of that, I missed the tone.
Settling down for some non-humor (though there is a
dark streak deep in there), “Blood Model” presents us with an art class with a
nude model as its subject. One of the students is a wacko who is fixated on the
model, while others in the class try to cozy up to her. The dance around her by
the students is the key motion of the story, but like any good horror tale, but
the ending is solid gold, Jerry, it’s gold! It takes a bit to get there, but it’s
worth the wait. For some reason it made me feel like it could be a segment of “Trilogy
of Terror” (hey, Karen Black did some nudity).
To mix it up a bit, the penultimate story is “The
Whirlpool of Night,” which takes a few genres, puts them in a blender and
stirs. The predominant one is the black-and-white noir of a crime syndicate, as
a private investigator must steal a necklace from a secure location and return
it to repay a debt to an all-female mob. This leads to another genre of an
action film as she is hunted by a masked assassin leading to shootouts and
hand-to-hand fighting (which definitely shows the film’s budgetary restraints).
As for the third of the mash-ups, I won’t give it away because it’s completely
unexpected and fits in so beautifully.
The final story (but not the wrap-up) is “The Calling
of Things Beyond,” which is the most Lovecraftian of them all. A cursed play (now
there is a well-polished trope) written by a mysterious Alister Crowley type
leads to an almost psychedelic happening. It’s both intriguing, weird and a bit
silly, all at the same time.
As the two bookends collide in a pretty funny, almost
Keystone Kops way, the film sets up for the next anthology. If it is as much of
a blast as this one, it will be worth the wait (perhaps in 2022?). One thing noteworthy
is that at nearly three hours, there is no big cameo star showing up; that
alone is pretty impressive. Don’t let the length intimidate you, it’s worth
watching it, even if it’s in bits here and there. That’s the glory of
anthologies.
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