Doctor Sleep adapted from Steven King’s novel of the same name is a sequel to Stanley Kubrick’s classic film The Shinning. (Also adapted from a Steven King novel.) I have read the novel The Shinning a few times and found it to be one of King’s most effective horror stories and like King I was disappointed by Kubrick’s adaptation feeling that it missed the essential possession element of the work. I never got around to reading King’s sequel so I can’t speak to this film faithfulness as an adaptation.

With clever casting writer/Director Mike Flanagan picks up the story shortly after the events of The Shinning with Danny Torrance and his Mother Wendy living in Florida, both terribly scarred by the trauma that they have survived. The ghost of the hotel’s chief chef Hallorann visits Danny and helps him to master his psychic abilities.

Despite this when we catch up with Danny as an adult, he is a broken man and, like his father before him, suffering from bouts of rage and alcoholism.

Simultaneously A young girl, Abra Stone, is coming into her own as a psychic with her own special and power shine which brings her into the awareness of a cult of psychic vampires that feed of the essence released by tortured and murdered psychics lead by the sadistic Rose the Hat.

Very quickly Danny finds his path to sobriety and redemption runs straight through Abra and Rose, a path that leads all of them back to haunted Overlook Hotel.

Doctor Sleep is in fact my first experience with the work of Mike Flanagan, and I was quite impressed. The film has a simple yet deep production design that carries both a sense of real world reality while suggesting a deep unseen reality beyond just what is visible. Films about psychic abilities are always a tricky magic act to perform. By their very nature psychic talents are things of the mind and they do not generally lend themselves to effective visualizations. Flanagan manages to walk the narrow path of visual that are interesting and unreal while still not leaving the viewer lost or confused.

The cast is uniformly good, Ewan McGregor as Danny Torrance always carries the haunted look of a man barely functioning despite the pain that clearly tormenting him. Kyleigh Curran as Abra has real talent and will be a treat to hopefully watch her blossom into an adult actor. that said for me the real treat was Rebecca Ferguson as Rose the Hat. Having missed nearly all of the Mission Impossible franchise I was only recently introduced to her work in Dune Part 1as the Lady Jessica but her villainous turn as Rose is truly breathtaking. Playing a person of so little empathy is a very tough gig, overplay it and it ceases to be a character and dwindles into caricature underplay it and the threat begins to fade. Ferguson found the balance keeping her real, keeping Rose’s pain visible while maintaining the hardness that made her frightening.

Thew film’s climax at the Overlook was particularly satisfying especially for fans of the original novel.

Doctor Sleep is currently streaming on HBOMax and is available on VOD.

Released by Hammer Studios in 1971 Blood From the Mummy’s Tomb is an adaptation of Bram Stoker’s Jewel of the Seven Stars.

An expedition lead by Professor Fuchs locates and robs the tomb of an Egyptian sorceress, Tera, condemned by the priests of her time for her evil and her magics. Fuchs, obsessed with Tera’s legend brings her well preserved corpse by to England while the rest of the expedition makes off with sacred artifacts from the tomb. Just before her birthday Fuchs’s gives his daughter Margaret one Tera’s artifacts instigating a chain of events that may lead to the evil sorcerer’s re-birth.

Blood From the Mummy’s Tomb had a quiet troubled production. It’s original star as Fuchs, Peter Cushing, completed only one day of shooting before his wife’s medical emergency forced him to quit the movie. Five weeks into the six weeks of principal photography the film’s director, Seth Holt, died of a sudden heart attack.

The movie has all the elements of a slow-burn horror film, the gradually escalating stakes, likeable characters caught in the morass of doom and destiny, hubris and pride pulling everyone towards what appears to be a grisly end, but ultimately the production failed to hit this target.

The cinematography is bright and clear, too clear, displaying the sets in such detail that their simple nature becomes evident. The acting overall is credible, but it appears that Valerie Leon in the dual role of Tera/Margaret had her voice replaced and the dubbing is quite terrible. Personally, I found the fake eyelashes that make applied to Valerie Leon quite distracting and spoiled every close-up of her and even hampered her performance. I really wish I could have heard her own performance rather than this crudely pasted voice-replacement.

The rest of the cast, including Andrew Keir replacing Cushing, are perfectly fine if sometimes a little on the nose casting wise. All of the expedition actors play both their younger tomb robbing selves and the same characters 18 years later with touches of old age make-up.

While this movie doesn’t lean heavily into the permissive nudity found in other 70s Hammer productions such as The Vampire Lovers and Twins of Evil it does play more towards the heaving bosoms, clearing teasing the male gaze, than earlier films.

Blood From the Mummy’s Tomb is fairly typical of late period Hammer. An interesting idea for a film hampered by budget and scheduling but not entirely a waste of your viewing time.

It is a time of great change, the hated production code has been slain, replaced with the MPAA ratings system and movies have gotten more daring and explicit which for Hammer Studios, facing falling enthusiasm for their gothic horror, means more salacious content, more bare flesh, and Playboy models leading their horror films. In this tumult they produce and release Doctor Jekyll and Sister Hyde.

Confession, this move never climbed high in my desire to see it because I fully expected it to be in the same vein as The Vampire Lovers where not only is lesbianism used to titillate the audience, but the vampire have moved their feeding from the neck to the ladies’ naked breasts. That is, I thought of this movie as purely exploitive.

Recently on the Pure Cinema podcast, filmmaker Edgar Wright recounts many of his favorite underrated British horror movies and this one was among them. S quick search located the movie on a commercial-support streaming service, Shout Factory!

Doctor Jekyll and Sister Hyde is a grand goulash of well-worn setting and themes. Of course, it’s principal ingredient is the adaptation of Robert Louis Stevenson’s classic story The Strange Case of Doctor Jekyll and Mr. Hyde, not content with one tale of Victorian madness and murder the film also folds into its plot the notorious murders in Whit Chapple, yes Jack the Ripper is part of this film.  Because unscrupulous doctors have to obtain corpses for their experimentations the historic case of Burke and Hare, though displace about 70 years from the 1820s to the 1890s, complete this dish adding in additional murder because old jack simply wasn’t enough for a film this colorful movie.

In this version Henry Jekyll, frustrated that his life span will be far too short to eradicate all disease from humanity, turns his research to find an elixir of life and naturally the source of such agelessness must be found in the hormones of women. However, testing the concoction on himself doesn’t produce youth but rather transforms Henry Jekyll into a woman whom he explains away to his neighbors as his sister Mrs. Hyde.

Mrs. Hyde has her own desires and will, complete with a powerful sexual attraction to one of the handsome neighbors. An attraction is blurs between the two identities, while Jekyll remains attracted to the neighbor’s comely sister. (There are a lot of sisters in this film.)

 The film is well cast, all of the actors credible and entertaining in their role but the outstanding achievement in the casting is Ralph Bates as Jekyll and Martine Beswick as Mrs. Hyde. Not only did both perform quite well but the similarity of their faces added an extra level of credibility to the transformation.

Digital ‘morphing’ lay decades off in the future from this film and rather than utilizing lapse-dissolves for the transformation the filmmakers used mirrors, cuts, and ingenious framing with distorting colored glass, creating an impression of in-camera changing.

Unlike many other versions of the classic story, Jekyll isn’t presented as purely noble and good. Neither is Hyde the epitome of evil. Both characters have blood, literally, on their hands, and both invoke a sense of sympathy.

Aside from some gratuitous nudity this film holds up rather well with more interesting characters and questions about identity than shock or scares.

After watching The Keep a film with a troubled production I followed up the next feature film with a movie that possessed and even more troubled history Dominion: Prequel to The Exorcist.

1973 saw the release of The Exorcist adapted by William Peter Blatty from his own novel, directed by William Friedkin, and a massive box-office smash, launching a troubled franchise of horror movies. Four years after the original Exorcist II: The Heretic failed to reproduce the first film’s success and the franchise lay fallow for 13 years until Blatty, ignoring the sequel, write and directed one of his own, The Exorcist III. (While Blatty pretended the second one didn’t exist the studio pointedly did not.) This film also failed to find the level of success desired by the studio.

More than a decade passed before Paul Schrader was brought aboard to help a prequel for the backstory on the original films exorcist Father Lankester Merrin. Schrader’s film so disappointed the studio that he was fired from the production, twelve weeks of additional shooting and with an almost entirely new cast and a new director, Renny Harlin, a new film with more violence, gore, and jump scares was crafter and released as The Exorcist: The Beginning, which failed with both audiences and critics. Seeking to salvage something from the plane crash of a production, the studio brought Schrader back to the film and provided funds to allow him to complete his vision which was released and also failed as Dominion: Prequel to The Exorcist.

Father Merrin, (Stellan Skarsgard) after witnessing and being forced to participate in Nazi atrocities in his native Holland in his post-war and devoid of faith, now focusing on archelogy, is excavating a buried 5th century church in Kenya, an important find as the first evidence that the early Christian Church had reached this part of the world so early. The Turkana locals, predominantly non-Christian, view the church as a source of evil. A British garrison is posted to protect the site from looters escalating tension with the locals. Merrin discovers the church, which anomalous architecture was built atop an older non-Christian site of worship where human sacrifices were performed. After unsealing the hidden site, the hostility between the British occupiers and the locals intensifies carrying echoes of the war crimes in Merrin’s past. The local missionary, Father Francis, believes an evil spirit has been released but Merrin’s lack faith forces him to find ‘rational’ explanations for the strange events. With war brewing and people torments by their haunted terrible pasts, Merrin is forced to confront the facts of his belief and find his faith again if the unearthed evil is to be vanquished.

What Works For Me:

There’s a lot in this film that is aimed at my particular tastes in horror movies. I am more partial to atmosphere and mood with a slow burn in horror than I am to a killer slashing their way through a bevy for generic and forgettable teens.

Dominion is a slow burn psychological horror film where for most of the movie’s run time the spreading evil is subtle and ambiguous. It is left to the audience to determine for themselves just how much of the cruelty and violence is a result of a demonic presence and how much is simply human nature.

Threats in the movie are more suggested than explicit with only occasional burst of shocking violence, including the slaughter of children at school. The acting is on point and credible and wisely, in my opinion, Skarsgard made no attempt to mimic Max Von Sydow’s distinctive voice and cadence but rather made his own interpretation of Merrin.

What Didn’t Work For Me:

Once the possession is fully revealed and though this is meant to be the same demonic force that nearly thirty years later will possess Reagan, that is no continuity in the possession, its manner, or effects. While there is a strong suggestion that the demon is using various characters’ guilt and shame against them, this is played for more subtly than when it taunted characters in the original film and having a strong continuity in the demon would have tied to two films together.

The digital effects are weak and often ejected me out of my willing suspension of disbelief. The threatening hyenas rarely were credible and instead of increasing tension the effect undercut the threat, lowering the emotional sense of the stake.

Overall while a flawed film and one that never fully recovered from its production woes Dominion: Prequel to The Exorcist is an attempt at a thoughtful introspective horror film that dares to ask is evil a force from without or something within all of us.

Dominion: Prequel to The Exorcist is currently streaming on Peacock.

So, for the edition of Spooky Films I’m going to discuss three short film that I really enjoyed. Two of these I had the pleasure of seeing on the big screen at a horror film festival and the final one on-line.

Short films can be a great medium for horror. Get in, get to your central concept, and get back out again.

The Call Of Charlie

A married. couple about to host an intimate dinner/blind date for another couple are surprised by the wife’s old college roommate sudden arrival with her spouse. When the final guest arrives his usual appearance and nature sparks fear and unease in the uninvited guests.

This is a horror comedy and hits both notes dead-on. If there is a lesson to be learned here it is do not ‘just drop in’ unexpectedly one people

My Dinner With Werner

A fictionalized story of iconoclast and filmmaker Werner Herzog on a blind date while his former star and now enemy Klaus Kinski attempts to murder him. The impersonations of Herzog and Kinski are pitch-perfect. The more you know the history of these unique men the funnier the short becomes.

AM 1200

An embezzler, wrecked with guilt, on a lonely and deserted highway hears a call for help from a fading AM radio station but the cosmic horror he discovers there is far deep and far more terrible than his own petty crimes.

The longest of these short films Am 1200 was director David Prior, director of the feature The Empty Man.

This is a rewatch for me as I saw this during its original theatrical release. Adapted from a novel of the same name by F Paul Wilson The Keep tells the story of an ancient evil trapped in fortress deep in the Carpathian mountains and its attempt to escape during 1941. Occupied by German

Paramount Pictures

Soldiers and SS troops the mysterious entity released greed stalks and slaughters the soldiers. In desperation to discover the truth and to stop the killing the Nazis unwisely bring a Jewish historian and his daughter from a concentration camp who, justly thirsty for revenge, quickly joins forces with the entity, endangering not just the keep, its occupiers, and the surrounding village but humanity at large with the entity’s escape.

The Keep, plagued with production troubles, studio interference, and questionable artistic choices, failed up on release and I recall leaving the theater far from satisfied. In nearly 40 years since its release the film has gathered some praise and a small cult following. Rewatching the feature I can say I have seen far worse horror films, I have watched worse the same week with far better production values, but The Keep still misses the mark and falls short of being an engaging piece.

It is reported that the studio cut more than a half an hour from the film and the sloppy editing shows. After establishing a mood and atmosphere for the story the rough reductions caused the story to skip over the force stalking and killing the soldiers, reducing what should have been building tension and terror into one line of quickly delivered exposition.

With the tone so destroyed by the poor edits the film is further damaged by gaudy and unsubtle special effects. Where a story of this type works more powerfully with less, hints of powers, suggestions of something at the edge of the frame, The Keep went with bright, flashy effects and animation that are incongruous with the rest of the production design. This friction is inflated by the film’s music. Tangerine Dream’s synth infused score destroys more mood that it creates, often overpowering scenes and robbing them of their emotional impact by drawing attention away from the story.

The bones of the film are quite sound and with footage restored, new more subtle effects, and a more appropriate score The Keep might have had a chance to be something fairly interesting but as it is currently formatted it’s a flawed work with a fine cast.

When I first watched the trailer for Barbarian film my initial thoughts were that it looked stupid and uninteresting, and I placed it on my do not bather to see mental listing.

20th Century Studios

Then on Facebook and Twitter I saw from various quarters of the horror community that the film had interesting twists and sociological commentary that couldn’t be explored without spoilers.

Well, with my curiosity engaged I changed my mind and took in a late-night screening this past Friday.

I need to listen to my intuition. This film was bland, and uninteresting and an insult to the audience’s intuitive intelligence.

Every narrative film is fiction and ever fiction has a plausibility envelope. Actions within that envelope are accepted as possible and within the realm of the characters and nature of that fictional world, actions beyond that envelops shatter disbelief and destroy the story’s illusion of reality. The boundaries of plausibility envelop vary with the genre of the story. In a superhero film Drax can be swallowed by a huge beast and emerge unscathed by its digestive acids but in a thriller such as JawsQuint cannot survive the maws of a shark. Dramatic fiction has tight boundaries on its envelopes while fantastic fiction has more distant edges. However, a thriller/horror without supernatural or science-fiction elements to push that envelope has a limited range of actions before disbelief is compromised. Barbarian ignores all constraints of reality and all illusion of reality vanishes like fog on a bright hot day.

In the screening I attended laughter erupted during dramatic moments because no one present could accept anything presented as ‘real.’ The violations of plausibility that I witnessed were not ones restricted to people with advance of obscure knowledge but ones everyone understands as to how the world functions. If person A plummets from a height and person B plummets a moment later, we understand that B lands on A, but Barbarian would have us accept the A ends up atop of B.

Some spoilers follow but honestly you should just skip this movie.

A middle-aged or older woman who has never been properly fed cannot survive being crushed between an automobile and a structure much remain a terminator level of threat. The same malnourished woman cannot simply lift a full-grown man of normal size straight up more than seven feet. If someone falls from fifty or more feet they are not, if they survive, going to stand and walk away.

There is very nearly but not quite a Psycho level twist about half-way through the film’s running time, but unlike Psycho where the hand off to a new set of leads were to characters, we had some establishment and level of engagement with Barbarian throws us cold into a new principal character and one so utterly unlikable you can only root for his demise.

Barbarian wasted my time, precious hours I can never reclaim.