Movie Review: DARK NIGHT OF THE SCARECROW (1981) *** and a 1\2 out of *****

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Dark Night of The Scarecrow (1981) is one of those "quiet horror" films that sneak up on you. At first glance, the film looks like a hundred other dated, unpolished, made-for-TV movie from the late 1970s and early 80s. And the opening sequence, with its maudlin performances and rushed pace, doesn't help change that first impression. But then a brutal execution of a mentally challenged character by an angry mob takes place, and the film takes a turn into a whole different class of moviemaking.

On the one hand, it has the trappings of a typical revenge from beyond the grave thriller. But as it moves along, it becomes more psychological, darker, and nastier. With a minimalist script by J.D. Feigelson (who originally wrote it as an independent feature film before CBS bought it), and unfussy but effective direction by Frank DeFelitta, it works quite well, with an assured pace, an eerie mood, and an ending that is the stuff of nightmares.

There is a reason why Dark Night of the Scarecrow remains a cult favorite to this day, and that is, decades on, it still has the ability to haunt and frighten without resorting to jump scares, dramatic histrionics, and fancy cinematography. This is American Gothic stripped to the core, and a movie that manages to work despite its shortcomings. Highly recommended.

Text © Ahmed Khalifa. 2021.

Ahmed Khalifa is a filmmaker and novelist. He is the writer/director of the feature film Wingrave, released on Netflix, and the author of a number of novels and short stories, including the YA horror novel, Beware The Stranger, available on Amazon. Find him on Twitter @AFKhalifa and on Facebook @Dark.Fantastic.AK·Writer

Movie Review: THE RENTAL (2020) *** and a 1\2 out of *****

Actor Dave Franco's writing/directing debut, The Rental (2020), is a modest little thriller that takes its time to get going. A bunch of millennial characters are introduced, all of them believable if not exactly likable, and then they are all thrust into a seemingly generic plot (a weekend retreat in a posh rented house way out in the woods turns into a nightmare). It all sounds like nothing special.

But as the film moves along, admittedly a tad too slowly for its own good, the relationships between the characters become more complicated, and, before you know it, the movie turns into a competent, compact thriller, which arguably has something to say about the self-involvement, paranoia, and moral ambiguity of the millennial generation.

Though Franco isn't yet an assured enough craftsman to make the suspense and shocks work as well as they should, he is skilled enough to make the climax effective and the ending quite creepy.

The Rental isn't a classic. But it is a good debut thriller that offers plenty of entertainment, a memorable performance by Alison Brie, and even a little food for thought. Recommended.

Text © Ahmed Khalifa. 2020.

Ahmed Khalifa is a filmmaker and novelist. He is the writer/director of the feature film Wingrave, released on Netflix, and the author of a number of novels and short stories, including the YA horror novel, Beware The Stranger, available on Amazon. Find him on Twitter @AFKhalifa and on Facebook @Dark.Fantastic.AK·Writer

Film Review: GHOST STORY (1974) *** and 1\2 out of *****

Underrated British ghost story, surprisingly well-written, and dense with a macabre atmosphere. Performances are very good all around, and the story is effectively eerie. Technically, it's a little rough around the edges, presumably due to the modest budget and the location shooting in India (in place of the UK). But the steady direction and intriguing story keep things moving right up to the haunting ending. Highly recommended. Co-written and directed by Stephen Weeks.

Text © Ahmed Khalifa. 2020.

Ahmed Khalifa is a filmmaker and novelist. He is the writer/director of the feature film Wingrave, released on Netflix, and the author of a number of novels and short stories, including the YA horror novel, Beware The Stranger, available on Amazon.

Movie Review: BLAIR WITCH (2016) - *** out of four

Released without much fanfare, Blair Witch (2016), the official sequel to The Blair Witch Project (1999) - let's all pretend Blair Witch 2 (2000) never happened -  is destined to become a polarizing film. If, like myself, you aren't a huge fan of the original, you'll probably find it to be a slick, compelling, and arguably superior sequel/retread of the original; on the other hand, if you are a die-hard fan of the original, and there are millions of you out there, it could be seen as an unnecessary repeat performance of the best aspects of the original.

To me, Blair Witch blows the original out of the water. Director and genre stalwart Adam Wingard, along with writer Simon Barrett, deliver a movie that is tense, fun, energetic, and deliciously scary, with the always reliable Wingard directing with an ebullience that was missing from the original

Whereas the original was an occasionally tedious exercise in cinema-verite, with hysterical characters and an annoying lead, this sequel features characters that are more fleshed out and much more likable. Yes, it isn't as gritty, and there isn't much here that is as startlingly original, but it is a better movie overall, with tight direction, an inventive script, and a terrifying, if slightly over-the-top, ending. It also has the advantage of working well as a stand-alone film, thanks to Barrett's clever script.

If you're looking for a fun, scary, and fast-paced "found footage" horror film, Blair Witch is for you.

Text © Ahmed Khalifa. 2017

Flashback Review: SLEEPWALKERS (1992) - **&1/2 out of four

Considered by many one of Stephen King's most embarrassing projects, Sleepwalkers (1992) is indeed a very flawed movie, but a fun one nonetheless.

Director Mick Garris, one of the horror genre's most reliable filmmakers, injects a lot of energy and style into the story, and the performances by the main cast (Brian Krause, Alice Krige, and Madchen Amick) are top notch.

What takes the film down a number of notches are the considerably uneven screenplay (reportedly penned by Stephen King as a lark), and the herky-jerky pacing, causing the film to have an incoherent, episodic feel that never lets the characters fully come to life. Also, the film's tone is all over the place, alternating between black comedy, low-brow humor, gory horror, and, ultimately, serious horror; not exactly an easy mix to take.

But, decades after its release in theaters, the film still holds up, mainly because of the terrific make-up/creature effects by Tony Gardner, Garris's stylish direction, and capable performances by the cast, both human and feline (the film features more than a hundred cat performers). So taken for what it is, a cheesy but slick horror film from the early 90s, Sleepwalkers is a tremendously entertaining watch.

Text © Ahmed Khalifa. 2017

Review: PHANTASM: RAVAGER (2016)

As a lifelong "Phan" of the Phantasm series, my heart lept with joy at the announcement of a new, and final, installment in the franchise, with the involvement of the entire cast from the 1979 original. After several delays, Phantasm: Ravager (2016) was released in theaters and VOD, and I got a chance to watch it.

My disappointment was staggering. Produced almost thirty years after Phantasm IV: Oblivion (1998), I expected a tight, polished, poignant final chapter that would finally answer at least some of the many questions posed during forty years of filmmaking. What I got was an amateurish looking, incoherent movie, with surprisingly unpolished performances, and one which lacks much of the surreal, hypnotic atmosphere and style that made the series so special in the first place.

A huge part of the blame has to rest on co-writer/director David Hartman's shoulders, whose direction is adequate at best, and sloppy at worst. The special effects also leave a lot to be desired, which is shocking, considering what creator/writer/director Don Conscarelli managed to pull off decades ago with next-to-none resources, delivering four films that had plenty of style, and effects that always captured the imagination.

The lack of closure is also very disappointing for a die-hard Phantasm fan. Being the final chapter, there's little that seems "final" about this film, with its open-ending and unresolved storylines dating back to the very first film in the series. Yes, Reggie Banister's character gets a moving and bittersweet send-off, but that's about it. The Tall Man's tale seems far from finished, and the rest of the characters don't have much to do throughout the story.

One has to wonder why Coscarelli, who co-wrote Ravager, didn't just direct this final chapter, as the final product sorely lacks his touch and his mastery of low-budget filmmaking.

It is fun and heartwarming to see the gang back together again, and there are a couple of moments when the film manages to capture some of the magic of the original, but, as is, Phantasm: Ravager is heavily flawed and underwhelming, and a failure as a finale to one of the most popular and stylish horror franchises in history. To me, the true final chapter remains Phantasm: Oblivion (1998), in which Coscarelli gave us an open-ending that was mystifying yet satisfying on many levels, and one which was truly haunting.

Text © Ahmed Khalifa. 2017

Review: THE WOMAN IN BLACK (1989)

The first adaptation of Susan Hill's classic ghost story is an atmospheric, nuanced horror film that lingers in the memory long after you finish watching it.

From the performances, to the confident direction by Herbert Wise, to the terrific screenplay by none other than Nigel Kneale (The Quatermass Experiment), this is a near-perfect ghost story, which draws its power from its ability to suggest (with sound design and good cinematography) rather than show, and its terrific use of location shooting. Some of the technical aspects have aged a little bit, but considering that this is a modestly budgeted production made for British TV in the late 80s, this is an impressive, stylish, and surprisingly elegant film.

Reportedly disowned by Susan Hill because of the changes Kneale made to the original novel (including the shocking ending), this is arguably the best adaptation of the story (superior to both the popular stage version and the extravagantly produced 2012 feature starring Daniel Radcliffe). A must see for fans of ghost stories, British cinema, and the original novel.

Text © Ahmed Khalifa. 2017

Quick Review: WHISPERS (1990)

Repulsive, mediocre and poorly directed horror/thriller based on one of Dean Koontz's lesser novels. Victoria Tennant and Chris Sarandon are terribly miscast. A huge mess.

Text © Ahmed Khalifa. 2017

Quick Review: VAMPIRE CIRCUS (1972)

Eerie, disturbing Hammer horror movie, with a truly haunting ambiance and some truly disturbing imagery. It's slightly incoherent (reportedly due to last minute cuts right before release) and has repulsive undertones, but there's no denying its uniqueness among the Hammer cannon and its ability to linger long in the viewer's memory. A forgotten gem. Directed by Robert Young.

Text © Ahmed Khalifa. 2017

Review: THE CONJURING 2 (2016)

Entertaining sequel about the further adventures of Ed and Lorraine Warren, real life demonologists and ghost hunters. This time the focus is on the "Enfiled Poltergeist", a sensational true story that took place in England in the late 70s. Director/co-writer James Wan lays out his usual stack of tricks, which include spooky visuals and some truly frightening moments. While Vera Farmiga and Patrick Wilson do their best to portray the Warrens as a likable, ordinary couple whose life's work happens to be fighting evil in all its forms.

But Wan's technique is getting repetitive at this point, becoming effective rather than inventive, and the way the Warrens are portrayed makes them bland, too good to be believable characters without much color. While the tone of the film, which wavers between hokey and portentous, doesn't work as well as it did in the original.

That's not to say that the movie doesn't work, because it does. But there's nothing really new here; just a polished, watchable mainstream horror movie with a few memorable sequences. Directed by James Wan.

Text © Ahmed Khalifa. 2016.

Quick Review: RETURN OF THE LIVING DEAD 3 (1993)

Ambitious, somber, and well-written sequel. But it lingers on repulsive details and has a slapdash, messy quality that makes it tough to watch. The effects are mostly poor. The weakest part of the trilogy.

Text © Ahmed Khalifa. 2016.

Quick Review: RETURN OF THE LIVING DEAD (1985)

Overrated horror-comedy; lacks style and memorable characters. But it has enough innovative touches and quirky humor to make it a memorable addition to the zombie genre. Highlight: James Karen's hilarious performance. A parody of/unofficial sequel to George Romero's Night of the Living Dead (1968). Based on a story by Night of the Living Dead writer John A. Russo. Directed by Dan O'Bannon.

Text © Ahmed Khalifa. 2016.

Quick Review: NIGHT OF THE DEMONS (2009)

Fun, energetic remake of the cult favorite, with a twisted sense of humor and a likable cast. It moves like lightning and revels in its silly excesses. The hurried ending is the only disappointment. Arguably better than the original. Directed by Adam Gierasch.

Text © Ahmed Khalifa. 2016.

Quick Review: NIGHT OF THE DEMONS 3 (a.k.a DEMON HOUSE) (1997)

Lamely directed entry in the horror/comedy franchise. The script is better than expected, but the direction is slipshod and the scares non-existent. The weakest part of the trilogy. Written by Kevin S. Tenney, the director of the original, and directed by Jimmy Kaufman.

Text © Ahmed Khalifa. 2016.

Quick Review: NIGHT OF THE DEMONS 2 (1994)

Superior sequel to the cult horror/comedy, features terrific make-up effects and a fast pace. It isn't as scary or funny as it thinks it is, but the tight direction and earnest performances make this is an entertaining watch. Directed by Brian Trenchard-Smith.

Text © Ahmed Khalifa. 2016.

Review: PHENOMENA [a.k.a Creepers] (1985)

One of writer/director Dario Argento's weirdest efforts (and that's saying something!), Phenomena (1985) is an odd mishmash of genres (Gothic horror, Dark Fantasy, Fairy Tale) that doesn't quite gel. It has moments of haunting power and the atmosphere is unique, but apart from a couple of terrific suspense sequences, this is a stilted, incoherent film, with stiff performances and poor dialogue. The score by Goblins is fantastic, though.

* Released in an 82 minute version as Creepers.

Text © Ahmed Khalifa. 2016.

Quick Review: DRIVE ANGRY (2011)

Wild, kinetic, and immensely entertaining supernatural thriller, with game performances by all involved. The plot is thin, and co-writer/director Patrick Lussier sometimes pushes things past their welcome, but this is one quirky, muscular grindhouse movie!

Text © Ahmed Khalifa. 2016.

Review: TO DIE FOR (1989) and SON OF DARKNESS: TO DIE FOR II (1991)

Poorly scripted and blandly performed, To Die For (1989) is a passable horror/romantic thriller from the late 80's, notable for its failed attempt to update the Dracula myth to modern times, pitting Vlad Tepes, masquerading in Los Angeles as a wealthy bachelor, against his evil brother Tom(!), who wants to kill Vlad's latest lover, Karyn. Sloppy direction and terrible dialogue make this a slow-going watch, but some of the make-up effects are impressive.

For some reason To Die For garnered a sequel, which is surprising, since it barely registered at the box-office upon release and is hardly considered a cult classic. The sequel, Son of Darkness (1991), fares a little better, with genre veteran Michae Praed (Nightflyers, Robin of Sherwood) replacing Brendan Hughes as Vlad Tepes. Son of Darkness benefits from adequate direction by David F. Price and stylish cinematography by Gerry Lively (Waxwork, Warlock: The Armageddon), and the first half of the movie is fast-paced and atmospheric. The movie stumbles in the second half, as the emphasis shifts from horror to romance, and the plot becomes incoherent. Still this is a better movie than its predecessor, and a diverting 90 minutes for a rainy night.

Text © Ahmed Khalifa. 2016.

Quick Review: JILL THE RIPPER (a.k.a JILL RIPS) (2000)

Disturbing, slow-going psycho-sexual thriller, with Dolph Lundgren - as an alcoholic ex-cop - in an against-type role that provides him a good opportunity to stretch his acting muscles. The rest of the cast all deliver good performances, but the lethargic pace and overly portentous tone are major drawbacks.

Text © Ahmed Khalifa. 2016.

Quick Review: PSYCHO COP (1989)

Surprisingly watchable micro-budget slasher/horror movie, with amateurish performances and one of the goofiest serial killers in the history of film. Followed by a sleazy, jokey sequel, Psycho Cop 2 (1993), that is fun but arguably inferior.

Text © Ahmed Khalifa. 2016.