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.

Released in 1975 Jaws, along with Star Wars two years later, created the summer blockbuster. Optioned and sent into development and production before the novel was published Jaws made a superstar director of Steven Spielberg and terrorized a generation. 14 When I came out Jaws was a memorable theater going experience and one my all-time favorite films.

Seven years ago, I attended a screening celebrating the film’s 40th anniversary but that screening was nothing like the one I experienced last night.

The digital projection was flawless with the image sharp and perfect as though we were

Universal Studios

watching a print struck directly from the original camera negative. The sounds, which may have been remastered, was rich and enveloping with the bass notes of Williams’ iconic and unforgettable score presented powerfully. Of course, what made this screening so very different from any other of Jaws was that the movie had been retro-scanned into a 3-D format.

In 2016 I made the trip to Hollywood for some Halloween themed fun at Universal Studios followed by a screening of 1979’s Dawn of the Dead retro-scanned into 3-D. Because that conversion had been so successful in presenting the film in 3-D without savaging the experience I wanted to see if Jaws had a similar result.

Yes, yes it did.

The 3-D conversion, which I understand Spielberg helped supervise, was flawless, giving the film that illusion of depth but without taking away from the masterful filmmaking of Spielberg or cinematographer Bill Butler. The added planes of depth changed the experience for me. Now, I have seen this film countless time. It is a movie I know well and can quote at length, but this version felt new and fresh as I noticed the framing of foreground and background elements in a manner I have never noticed before. Because these elements exist in their own plane of depth that are easier to notice and pay particulate attention to. For example, during Quint’s famous ‘Indianapolis’ monologue this was the first time I really noticed that Hooper is in the frame for the entire speech giving Dreyfus time to listen and subtly react as the horrific tale unfolds. With the laser-sharp projection and a screen that is never too dark due to the polarizing glasses, Jaws in 3-D is an experience not to be missed.

Hatching is a family-drama/horror film from Finland.

Siiri Solalinna plays 13 years old Tinja, a girl trying desperately as a gymnast to please her

Nordisk Film

mother, a former gymnast herself and now creating content for the internet presenting her life and family as a model of perfection.

When a stray bird ruins one of mother’s video shoots it ends up dead and feeling guilty for the animal Tinja finds the bird’s nest and begins incubating its egg.

Kept secret from the rest of the family Tinja egg’s grows to enormous size and reacts directly to her presence and touch. Once hatched the chick, nearly as large as Tinja herself, displays a deep emotional connection to Tinja and begins acting upon her repressed feelings and anger.

Sadly, Hatching is not a very engaging picture. It is a prime example of a plot-driven structure. Aside from taking the egg to begin with and hiding it Tinja, our protagonist, does very little to drive the action of the story or even make meaning choices in her actions. Tinja reacts to the bird’s death, reacts to the strange egg, reacts to discovering her mother’s affair, but rarely is proactive making for a passive character. This is a shame as Siiri Solalinna is a terrific young actress and, in my opinion, gives the most compelling performance of the film. I certainly hope to see more her as she matures and continue her career.

The special effects of the film are quite good. I believe that for most of the ‘monster’ effects the production utilized puppetry and make-up effects rather than digital visual imagery and their choice was correct. Hatching doesn’t feel or look cheap The cinematography is lush and vivid, the sets and design inviting and create a real of real places and locations. It is the script that fails the production giving as an interesting premise that never fully mature into character driven story.

Hatching is currently streaming in the US on HULU.