Monday, March 21, 2022

JOHNNY BLAZE - THE GHOST RIDER - VOLUME ONE (Part 1)

THE GHOST RIDER -  JOHNNY BLAZE

VOLUME ONE 


PART ONE

I have been reading and collecting comic books nearly all my life going way back to the late 80s and early 90s. And since the early 90s, Ghost Rider has been one of my favorites, if not my all-time favorite at times. If you know your comic publication chronology, in the 90s Marvel introduced a new Ghost Rider to readers named Danny Ketch. During this period Ghost Rider became immensely popular, to the point of being one of Marvel's then trinity of top sellers. There was no better or easier time to get into Ghost Rider (because he was everywhere!). Anyway, I formed a fierce attachment to that particular Ghost Rider, but learned that there was a prior Ghost Rider as well. After acquiring every issue and appearance of the 90s Ghost Rider, I made it my goal to collect all of the previous Ghost Rider appearances as well dating back to the 70s.

THE HISTORY

2022 marks the 50th anniversary of Marvel super hero, Johnny Blaze: THE GHOST RIDER, who first appeared in 1972 in Marvel Spotlight #5. Typically referred to as "the original Ghost Rider," Johnny Blaze was the first character to marry the fiery skull with a motorcycle and adopting the name: Ghost Rider. The name of Johnny Blaze has since gone on to be synonymous with the character of Ghost Rider.

There was a Ghost Rider long before Johnny Blaze however and there was even a fiery skulled super hero long before that. The BLAZING SKULL was the first comic book super hero to feature a fiery skull, originally appearing in Mystic Comics #5 from March 1941. Then in 1949 in the issue of Tim Holt #11, a character named Ghost Rider debuted; a ghostly gunslinger in a western setting. Once the copyright on the Ghost Rider character lapsed, it was snatched up by Marvel Comics and restarted in 1967. The horror elements of the story were eschewed (due to the restraints of the Comic Code at the time) in favor of western action, however maintaining the same name and the design (and even the same artist, Dick Ayers!). The Marvel Comics western Ghost Rider (who's identity was that of Carter Slade) only lasted a mere seven issues before seeing cancellation.

And then came Johnny Blaze. From 1972 to 1983 Johnny Blaze was Marvel's Ghost Rider before receiving an official ending. In May of 1990 Marvel revealed a new Ghost Rider, not Johnny Blaze, though Johnny Blaze would take a central role in the new Ghost Rider's story. During the 2000s however Johnny Blaze would once again be saddled with the powers of the Ghost Rider, becoming the leading Ghost Rider once again (at least for another stint before passing it off to someone new). Since then there have been many other Ghost Riders, dozens more in fact, but only one has really stayed in the pop-culture consciousness as THE Ghost Rider: Johnny Blaze.


THE JOHNNY BLAZE RUN

What makes Johnny Blaze the definitive Ghost Rider?

I have recently embarked on a thorough deep dive of Johnny Blaze's original run as the Ghost Rider, guest spots and costarring books in all! Starting with his appearances in Marvel Spotlight, onto his on-going solo series, his costarring role in the team book THE CHAMPIONS, and his guest appearances in Marvel Team-Up, Marvel Two-In-One, and more! We've even included the obscure books like THE HUMAN FLY and TEAM AMERICA that he guest appeared in too! 

We've read it all! 

So, join us as we research, enjoy, and document our journey through the pages of Ghost Rider!

Here's our findings:

MARVEL SPOTLIGHT #5 THRU #12

The reality, in most cases, are that very few long-running iconic characters first appeared in the forms we recognize them as today. Like actual people in a way, many fictional characters go through a growth period where the creators themselves are trying to figure out exactly who these characters are, trying things, learning what works with audiences and what doesn't. It' takes time and hard work to create and shape an iconic character. Keeping this in mind, Ghost Rider follows a long line of classic characters who underwent such long-term development.

THE ORIGIN


The iconic origin story is in tact, even more tragic in fact. Abandoned by his mother, Johnny Blaze's father, Barton Blaze was a stunt driver in a carnival who lost his life during a motorcycle accident. Johnny is adopted by his father's partner and owner of the stunt show; Crash Simpson and his family. During Johnny's teen years he's involved in a motorcycle accident himself that claims the life of his adoptive mother who, on her death bed, makes Johnny promise never to ride a motorcycle again. Then, as an adult, he learns that his adoptive father, Crash Simpson, is diagnosed with cancer.

To save his adoptive father, Johnny turns to Satan for help. How Johnny arrives at the idea to sell his soul to Satan is never really explained yet he seems to have already had an interest in the occult as well as books and knowledge on satanic rituals (like you do) and, trying to honor his promise to his adoptive mother, agrees to sell his soul to Satan to cure Crash's cancer. The Devil cures Crash's cancer, but, in an ironic and horrible twist of fate, Crash dies shortly thereafter in a stunt accident. Satan arrives to claim Johnny's soul and transforms Johnny into his personal infernal emissary: The Ghost Rider. Imbued with satanic powers, Johnny refuses to give Satan his soul.

Since Johnny Blaze is still alive and refusing to willing relinquish his soul, Satan is yet unable to claim his soul. Thus begins Johnny's battle against Satan to keep his soul. 

POWERS & ROGUES GALLERY 

When the story begins Johnny Blaze's transformations into Ghost Rider happen every day at night fall. Like a classic Jekyll and Hyde, Johnny would only become the Ghost Rider at night whether he wanted to or not. And the only real power he had was to shoot fire from his hands similarly to the Human Torch. He doesn't  have his "Skull-Cycle" or "Hell-Chopper" yet either, rather a simple stunt-cycle. Clad in his stunt-rider jumpsuit (not leather, spikes, and chains), the only thing physical aspect that changes is his skull. Even as Ghost Rider, he is still talking and acting and thinking like Johnny Blaze, so no dueling personalities at play... yet.

After Crash Simpson's death, Johnny and Roxanne become the owners of the traveling Stunt Show. So every night Johnny becomes the Ghost Rider he hides himself away to avoid being seen, wanting no one to know that he has become a monster. He even tries to disguises his voice by speaking in a different cadence and tone, the nearby characters describing it as spooky like "Bela Lugosi." Johnny calls it his "spook act" and even tries to play it off to others that the Ghost Rider is all a mask and special effects gimmick for the stunt show.

The running plotline through these initial issues of Marvel Spotlight revolve around the motorcycle stunt show, leaning into the popularity of actual stunt driver Evel Kinevel from the time. And of course, satanism and horror and running from the cops.


As for the antagonists, Satan becomes Johnny Blaze's initial adversary, plotting and scheming how to claim Johnny's soul. Satan is the big bad of the story. During those first few nights as Ghost Rider, Johnny battles a biker gang led by a red-headed man calling himself Curly. Curly turns out to be Crash Simpson in disguise, resurrected by Satan. If Crash can attain Johnny's soul then Crash will be free from eternal damnation in Hell. Crash is unable to take Johnny's soul because of Roxanne.

Johnny's only salvation from Satan's power is Roxanne, whose purity of soul and love for Johnny protects him from Satan's evil. In an insidious plot, Satan commands Crash to kill his own daughter in a ritual sacrifice surrounded by Satan's acolytes. Johnny arrives to save Rocky but is pulled into Hell along with Crash. Trapped in Hell, Johnny manages to get through to Crash, his adoptive father helping Johnny escape from Satan's grasp. A mysterious hooded figure offers to save Crash's soul and help Johnny escape from Hell.

These issues of Marvel Spotlight lean pretty hard on satanism, as you'd naturally assume, and lend these issues a level of darkness rarely seen in the Marvel universe. I really enjoyed these early issues for that fact alone. The next story arc sees Johnny and Roxanne taking the stunt show out west to an Apache reservation where Johnny will attempt to jump a canyon. There he encounters an Apache shaman called Snake Dance, who calls upon the snake spirits to battle Ghost Rider.

By this point it is believed that Johnny is still mortal, even as Ghost Rider, and can still be killed. In an effort to escape Snake Dance, Johnny jumps the canyon. His bike was sabotaged earlier and explodes in mid-jump, Johnny careening into the canyon gorge to his death. It is then revealed to us that, as the Ghost Rider, Johnny may be unkillable as he miraculously survives his fall. And just like that, Johnny's powers as the Ghost Rider grow a little more.

A new villain makes their appearance next: Linda Littletrees - The WITCH WOMAN. Snake Dance's daughter, Linda is another of Satan's acolytes, imbued with dark satanic powers. Linda Litteltrees is an innocent who was forcibly offered as a sacrifice to Satan by a group of female devil-worshippers. Instead of claiming her soul, Satan imbued her with power and later used her body as his vessel. Through Linda, Satan tries once again to attack Johnny and claim his soul, even managing to capture him and take Johnny back to Hell.


Enter: DAIMON HELLSTROM

In one of the best sections of the comic, Daimon Hellstrom makes his grand first appearance. Believing Linda Littletrees to be possessed, Linda's family hires an exorcist. A former monk, but still a man of God, Daimon Hellstrom arrives in Arizona only too late. Like Johnny Blaze's Jekyll and Hyde persona, when night falls Daimon transforms into the heir of Hell: THE SON OF SATAN! 

Johnny Blaze is effectively doomed, trapped in Hell at the mercy of Satan. Daimon Hellstrom, riding a fiery chariot pulled by three demonic steeds, Amon, Set, and Hecate (in some incredible imagery) storms the gates of Hell. He forces Satan back and rescues Johnny and Linda. Carried in Daimon's chariot, they return to the Arizona desert where Daimon leaves them (to take over as the star of Marvel Spotlight before receiving his own solo series too).

Also worthy of note here is the first appearance of the actual "Hellcycle." After Daimon Hellstrom drops them off, Ghost Rider and the Witch Woman are stranded in the middle of nowhere. With the Witch Woman having greater mastery over the powers of Hell, she instructs Johnny on how to form whatever he wants out of hellfire. Urging him to focus, through Linda's guidance, Johnny forms a motorcycle out of pure hellfire. Thus a new ability of Ghost Rider's is born (a very handy ability too as Johnny trashes motorcycle after motorcycle throughout this run).


FROM MARVEL SPOTLIGHT TO GHOST RIDER #1

The climactic battle against Satan and the Witch Woman and the epic debut of Daimon Hellstrom marked the end of Ghost Rider's time in Marvel Spotlight, graduating to his own solo comic book series. Until now, writer Gary Friedrich had been the main architect of the narrative. The book balanced satanic/demonic themes and mysticism with midwest grassroots entertainment such as stunt shows, demolition derbies, and vehicular racing. It makes for an interesting juxtaposition, extreme darkness set against what has become today as "state-fair" entertainment.

The two esthetics actually go hand in hand better than one would think. Johnny Blaze's nomadic traveling show could be seen as a modern day gypsy camp, offering taboo and unusual entertainment to isolated and rural communities. The mysterious gypsy camp in horror settings is a classic trope, the gypsies possessing ancient arcane knowledge and being the source of curses. So, from a certain perspective, this makes sense.

Ghost Rider's first guest-spot occurs here, between issues #5 and #6 of his solo series, in Marvel Team-Up #15 where GR teams up with Spider-Man to battle Crash Simpson's jilted former partner in the stunt show: THE ORB (in his first appearance). Written by Len Wein, this is an essential issue for Ghost Rider in that it reveals more background to Crash Simpson and the stunt show that will come back into play in future Ghost Rider issues. Though this is technically Spider-Man's book, this story is more Ghost Rider's than Spidey's.

During these initial issues, aside from battling Satan and saving Roxanne again and again, there are police chases, turmoil with the staff at the stunt show, and a mortal gunshot wound, which is staved off by transforming into the Ghost Rider. Johnny, as a character, seems like an "every man" type. A man caught in a living nightmare, trying desperately to outrun the inevitable. Other than turning to Satan for help in that initial issue, most of his decisions seem like what anyone would do in that situation. One motif that began here and continues to recur throughout the series is how Johnny's incredible skills as a cyclist help him escape many situations. His incredible driving skills are as much a super power of his as are his Ghost Rider powers.


After Ghost Rider #4, writer Doug Moench is credited for issue #5 and back to Gary Friedrich for issue #6. Friedrich then leaves the book entirely and turns over the writing duties to Tony Isabella, who maintains a fairly lengthy run on the book until issue #20. At issue #9, after multiple battles with the demon, Silfer, Roxanne finally concedes to give into Satan if only to save Johnny's life and the soul of her father. A new character then appears, who's never named beyond the simple title of "a friend" (who looks an awful lot like Jesus Christ), intervenes to save them both. Roxanne, after almost losing to Satan, questions herself and leaves Johnny on her own journey of self-discovery. And Satan, at long last, gives up on pursuing Johnny (for the moment).

 During Isabella's time on the book, he further develops Johnny's character and powers and issue #9 was a pivotal point. After issue #9, Roxanne is out of the picture, Johnny no longer has the stunt show, and is free from Satan... and possibly the Ghost Rider altogether. And more changes were to follow.

Also, Isabella gives Johnny a new style of speech and characterization; that of a modern day cowboy. Johnny speaks using southern or cowboy colloquialisms and even refers to himself as such. It's not much to my personal liking, but it did give him a distinctive voice and character among the other Marvel heroes. Also, there is a thematic through-line there given that the original Ghost Rider was a western hero. Making that thematic connection to the Carter Slade Ghost Rider (the western Ghost Rider) is subtle yet pretty ingenious, showing acknowledgement for the characters and creatives that came before.

In issue #11 Johnny has a rough encounter with the Incredible Hulk and, once again, nightfall triggers the transformation into Ghost Rider, revealing that Johnny is still the Ghost Rider. Over the next few issues Johnny discovers he still has all of his Ghost Rider powers as well. After the Hulk, Ghost Rider meets another classic Marvel hero; The Phantom Eagle from World War I (or rather, the ghost of the Phantom Eagle. That's right! It's a ghost rider versus a ghost pilot!). 

And from here on out it is a bold new era for Johnny Blaze and his alter ego; THE GHOST RIDER! More on that in PART TWO!

Before we end though, let's go over some highlights:

The issues covered in this section are Marvel Spotlight #5 thru #12,  Ghost Rider #1 thru 12, and Marvel Team-Up #15:

KEY MOMENTS FOR THIS SECTION

1) MARVEL SPOTLIGHT #5 August 1972 = Johnny Blaze's 1st appearance

*Transforms into Ghost Rider at sunset/night and back into Johnny Blaze every morning* 

*Co-owner of the stunt show with Roxanne Simpson after the death of her father, Crash Simpson*

2) INITIAL POWER SET

*Expert driver and stunt cyclist (natural talent through hard training) revealed in Marvel Spotlight #5

*Can shoot hellfire from his hands (satanic power) revealed in Marvel Spotlight #5

*The purity/love of Roxanne protects Johnny from Satan's power revealed in Marvel Spotlight #5

*Unkillable as the Ghost Rider (satanic power) revealed in Marvel Spotlight #9

*Able to conjure a motorcycle from hellfire (satanic power) 1st occurs in Ghost Rider #3

3) MAJOR ENEMIES

*Satan (Marduk Kurios, the father Daimon Hellstrom, not Mephisto) 

*The Witch Woman - Linda Littletrees (is freed from Satan's power and reforms)

*The Orb - Drake Shannon (former partner and co-owner of the stunt show with Crash Simpson)

*Inferno (real name: Silfer) - lesser demon and minion of Satan

MINOR ENEMIES

*Crash Simpson (reincarnated and manipulated by Satan)

*Snake Dance (Apache shaman)

*Roulette - human possessed by the demon, Silfer (tries to burn Las Vegas down) 

*Aquarius (of the villain team ZODIAC) - also possessed by Silfer to gain enhanced powers

4) ALLIES & GUEST APPEARANCES = 

*Daimon Hellstrom - the Son of Satan (1st appearance in Ghost Rider #1 September 1973)

*Stunt-Master - former Daredevil villain, now reformed hero

*The Friend - possibly God/Jesus Christ

*The Incredible Hulk - tricked into fighting GR by the demon Silfer

*The spirit of the Phantom Eagle (the ghost of the legendary hero) - World War I hero



This is only the tip of the iceberg, everyone! There is much more to come as we chronicle our journey through the original Johnny Blaze run as Ghost Rider! 

Part Two coming soon!

We hope you enjoyed this post! And feel free to comment below!

Friday, March 11, 2022

SUPER HERO CINEMA: THE BATMAN (2022)

 THE BATMAN (2022)


The latest DC film has debuted! THE BATMAN! And, in what seems to be a growing trend, this latest film eschews any connection to the DCEU (that we know of). Depending on how you crunch the numbers, this is twelfth or higher theatrical Batman film with the caped crusader's name on the marquee. Perhaps one of the most versatile and malleable characters in fiction, Batman can range from silly camp-fair to a children's icon to darker nigh R-rated content. And most remarkable of all, all of these different approaches actually work. They're all wonderful and fit well with the character. Batman is the definition of an evergreen protean property.

This latest Batman film caters to a more mature audience, pushing the boundaries of PG-13 content to the edge of an R-rating. Directed by Matt Reeves, this film answers the question: "What if Batman was in David Fincher's SE7EN?"

It's dark, gritty, and scary at times. Clocking in at 2 hours and 56 minutes (let's just say 3 hours), this is the longest and most mature Batman film to date (after the success of Justice League - The Snyder Cut, makes me curious if we're in for a three-hour super hero film trend in the future?).

As the "upteenth" Batman film to see release, the only real question is... is it any good? 

Yes it is.

THE SYNOPSIS 

After the shocking and brutal murder of Gotham City's mayor, a cryptic riddle is left behind for The Batman. More murders of high profile Gothamites follow and Batman is confronted with his most challenging case yet, teaming up with GCPD, cat-burglars, and more to solve it.


INITIAL IMPRESSIONS

Everybody is voicing the comparisons with David Fincher's SEVEN and that really is the most apt description of the film to let you know exactly what you're getting into. This movie is very dark, both in terms of content and lighting, appropriately so. I'm not sure I need to say anything more than that. The film channels great atmosphere, rainy, dirty, and menacing. Gotham City itself is portrayed perfectly (although it does feel strange seeing modern iPhones/Smart Phones in Gotham).

The movie is solid all around. Solid acting from everyone in the cast, solid directing, and a solid presentation. Though three hours long, I never felt like I was seeing unnecessary sequences, all of it feeling relevant to the plot. I wish it wasn't three hours long, though none of it felt superfluous. It's pacing is slower and methodical, appropriate for the story being told. It is grounded and filled with Batman actually showcasing detective skills. Again, all of this feels very much in keeping with the character and his street level hero status. This film feels very akin to Christopher Nolan's Dark Knight trilogy, taking a step further into the realm of reality.

This film doesn't reinvent the character nor take the genre in a new direction. It knows what it is and it sets out to tell the best Batman story it can. And in that endeavor, I feel it succeeds beautifully. Honestly, if more franchises just tried to be the best version of themselves that they can be, instead of trying to reinvent things or change things up... 'sigh' ...we'd be in a much better place.

A WEIRD OBSERVATION

As I was watching The Batman it felt less like I was watching a movie (even though I was fully immersed in the theatrical experience) and more like I was binge-watching a streaming service mini series. The three hour run time combined with the grounded story, less sensationalism and more street level action, all of it felt like something I could watch at home on one of the various streaming services. This was my impression, not necessarily everyone else's.

To be clear, this isn't a criticism of the film, but rather a commentary on the changing landscape of entertainment. We live in an age of television where at home programing has equaled, and in some cases surpassed, what theatrical films can do. Many television shows nowadays have bigger budgets, high quality production value, and grand storytelling that make them feel, quite often, like three or four hour movies. Long-form storytelling has changed in such a way that has rendered certain theatrical experiences less novel.


So the question is: what can theatrical films do that "at home entertainment" can't? The Batman is a wonderful film that feels like it would translate seamlessly to a six episode mini-series on HBO Max. I wouldn't change a thing about The Batman, so, I don't know what I would change to give it that extra bump above streaming service content.

Now, this is just my opinion and feeling and no doubt others feel differently. To illustrate further what I mean, Spider-Man: No Way Home felt like an authentic theatrical experience that a streaming service couldn't replicate (at least not easily). 

If I could levy one criticism about the film it would be a similar criticism that I had with The Dark Knight: the film's structure goes through the standard three-act presentation and we come to what feels like a conclusion... and then the movie continues, goes through another portion of rising action, climax, resolution... and continues again. It feels like two movies combined or more, further lending it a television series esthetic. In the case of The Dark Knight, given the tragic circumstances of Heath Ledger's passing, I understand the choices made in terms of the plot.

With no such circumstances concerning The Batman, I'm curious as to why the film's structure is as loose as it is. Again, everything in this movie works, but structurally it feels like two movies or a television mini series on a streaming service rather than a theatrical story. In the case of Spider-Man: No Way Home, though only 30 minutes shorter than The Batman, structurally it feels more akin to a feature film than The Batman does. Now, obviously, film and storytelling shouldn't be limited by the standard three-act structure, and I'm not saying theatrical films should be limited in such a way. Only that, to me, The Batman felt more like a television series than a theatrical film, and the episodic nature of this film actually feels representative of a comic book series structure as well!

THE VERDICT

The Batman is a nigh perfect representation of the character and the world he inhabits. The movie isn't for the timid and requires patience and endurance, offering a solid presentation all around! I don't think anything more really has to be said. Is it my favorite Batman film? No. Is it one of the best Batman films? Yes.

Overall Ranking: 8 out of 10

If Hollywood is to learn anything from this film, I hope it will be to focus on representing the material true to the intent as possible. All of the reinvention, subversions, and "freshening up" doesn't mean much if the property doesn't feel like itself.



Disagree? Want to discuss? Leave a comment!

And for more of our thoughts on Super Hero Cinema, check out the posts below!

THE DC EXTENDED UNIVERSE (DCEU)
 


THE MARVEL CINEMATIC UNIVERSE (MCU)


 
Fox-Marvel, Sony-Marvel, and other stuff too!


 

Tuesday, March 8, 2022

THE HORROR HARVEST: NIGHT HOUSE (2021)

 NIGHT HOUSE (2021)


***note: this post was supposed to have been published back in September of 2021***

Going to the theater to see new movies has been more rare nowadays, not nearly as common as it was in 2019. And strangely something has happened to us that we never thought would: our interest in horror has begun to wane! It's not that our love for horror has dried up, but rather that the world has changed in recent years and we find ourselves yearning for a different kind of escape. We are excited for HALLOWEEN KILLS (how could we not be?) and we still love the horror films of the past. Despite a few interesting looking movies here and there, we have lost much enthusiasm for current Hollywood projects. That's just where we are personally.

But we have been to the movies recently for a double feature. On a super bargain Tuesday, we went to both NIGHT HOUSE followed by MALIGNANT. Both were good and both were very different in terms of approach and tone. It actually made for a compelling double feature and had us pondering the science of a double feature and what makes the perfect double feature.

Anyway, we're just going to focus on Night House in this post. We enjoyed the movie quite a bit!

THE PLOT

When Beth's husband commits suicide out of the blue, Beth is left grieving and wondering why he would do such a thing. While boxing up his personal effects, Beth comes across one of his architectural design books, finding rather strange and bizarre sketches inside. At night Beth starts experiencing some difficult to explain phenomena. She starts thinking that her husband is still with her. But as she goes through more and more of his things, she discovers some unsettling truths about him. And the phenomena begins growing in frequency and intensity. Otherworldly forces begin moving upon her, challenging everything she thought she knew about her husband and herself. 



INITIAL IMPRESSIONS

Rebecca Hall stars as Beth and carries the movie solely on her shoulders. Her performance is fantastic and there are numerous sequences where her acting talents shine.  Having enjoyed her performance earlier this year in GODZILLA VS KONG, we were already fans of hers coming into this movie. Beyond her though, there aren't too many other actors in this film that really stand out. It was cool seeing Vondie Curtis-Hall again though (we instantly recognized him from his bit roles in films like COMING TO AMERICA, DIE HARD 2, and the Netflix DAREDEVIL series).

The movie is a slow burn, focusing on grief and how one manages it. There are genuine human moments that really strike you and stand out in the film. All the while a mystery unravels. There are many quiet moments in the film where the tension climbs and the camera displays unique shots and disquieting imagery. It's subtle but effective (and hard to explain in words). The strangeness grows as Beth digs into her husband's hidden past and hints of murder and the supernatural seep in.

The mystery and intrigue deepen but the filmmakers always seem to be holding back. The imagery, even when delving into the supernatural aspects, is always grounded, which is great if you prefer more dramatic films versus the sensational.

The above statement hits to the core of it. As a personal preference, we prefer sensationalism in our horror, especially if we're going to ever be tempted to rewatch it. Night House is as grounded as its title, only hinting at something greater, but never giving its audience something more. The filmmakers could've gone there if they had wanted to, but instead chose minimalist imagery and depictions of its supernatural elements. Choosing to stay minimal keeps the film centered on its exploration of grief, which is likely what the filmmaker wanted. 

THE VERDICT

For us personally, we wanted a little more, especially in the ending. The film is really good on all fronts, but the slow build and minimalist payoff at the end was a letdown for us. All this is to say that the movie was good for a watch but we don't see ourselves rewatching it anytime in the future. So, we'll say this, there are some fine films out there that are most often one and done viewings. Night House, for us at the moment, feels like such a film. But that might be different for others. Still, a one and done film doesn't mean it's a bad film, not at all.

Overall Ranking: 7 out of 10

Nude-O-Meter: 2 out of 10



 We liked this movie but it is not one we foresee ourselves revisiting in the future. 

For more of our thoughts on horror, check out these other posts below!



THE HORROR MOVIE MASTER LIST

Sunday, March 6, 2022

THE HORROR HARVEST: THE CURSED (2022)

 THE CURSED (2022)



Werewolf movies are a special breed and among the more challenging horror films to execute. It's a subgenre that has been with horror cinema since the horror boom of the 1930s, long-standing, venerated, and time-honored. Werewolf of London (1935), The Wolf-Man (1941), Curse of the Werewolf (1961), Mark of the Wolf Man (1968), An American Werewolf In London (1981), The Howling (1981), Wolf, (1994), Ginger Snaps (2000), Dog Soldiers (2002), The Wolfman (2010), and many more! 

But it seems that for every good werewolf movie there are three fair to middling werewolf movies. Werewolf films, by their very nature, are effects heavy films, even back in the day in the 30s and 40s. The transformation sequence is always a tremendous moment (and the films that opt out of showing such a scene tend to fall flat). Then there's the design of the werewolf itself. There's the more human-like werewolf with pointed ears, fangs, canine nose, and claws, but otherwise human body. There's the complete transformation into an actual wolf, appearing no different (except maybe in size) to an actual wolf. And then there's my favorite, the man in a full body suit that walks upright towering above everyone else, monstrous and impressive (The Howling style).

Nailing these two key aspects should be the first two goals of any werewolf film followed, of course, by excellent storytelling, acting, and directing. An American Werewolf In London and The Howling should be considered masterclasses in werewolf cinema (along with a few others). Obviously, such films achieving these lofty goals are rare, but I still love to see new filmmakers try.

THE CURSED (not to be confused with Wes Craven's werewolf film CURSED) is the latest werewolf film to debut. Ambitious and filled with potential, The Cursed is a period piece drama drawing from real history and horror masterpieces like THE THING (1982). Striving for great heights, the film contains a lot of positives but ultimately falls short of its lofty goals (at least it did for this horror fan).

THE SYNOPSIS

During the late nineteenth century, to settle a land dispute, Baron Seamus Laurent sends a group of mercenaries to make an example of a gypsy camp on "his" land. As the gypsies lay dead and dying in a mass grave, one of them places a curse on the Baron and his kin. Shortly thereafter Baron Seamus' son goes missing as news of a beast attacking the village surfaces. As events worsen, a pathologist arrives in the village with a unique knowledge of what has befallen the townsfolk.



INITIAL IMPRESSIONS

A period piece gothic horror film is like catnip to someone like me. I loved the setting and the look of the film which felt very colonial American/European. While many aspects of the film feel low budget, the set design and authenticity of the film looks good and may be the strongest element to the film. And the actors lose themselves in the sets and the narrative, nearly all of them lending great performances. Boyd Holbrook and Kelly Reilly really stood out among the cast.

The opening sequence set during the Battle of the Somme was great and set a good tone. The raid on the Gypsy camp, the stuffing of the Scarecrow, and the live burial were epic and brutal. Then the replaying of the dream sequence, revealing a little more each time, was very effective. And the autopsy scene was incredible, evoking vibes of The Thing. The gore throughout the film too was quite good. And the werewolf was unique in design, standing out from any other werewolf I've seen in any movie. Altogether the werewolf angle of the story managed to feel both classic and fresh at the same time.

But the film's editing was rather jarring, lacking smooth transitions, and feeling a little abrupt in its movements. This kind of editing left me feeling dissatisfied and hurt the flow of the narrative. The film also felt a little too long, in need of some cropping to keep the pace up. And there's no real money shot of the werewolf either! Also, while I loved the autopsy scene, that does not excuse the lack of a transformation sequence for the film. The autopsy felt like a placeholder for the subgenre's essential transformation sequences, like a clever inversion of the werewolf transformation. It's great, but the film still needed an on-screen transformation scene.



The cinematography opts for a "less is more" approach in regards to the werewolf, milking it far too long, with no major payoff. There was too much of the "less is more" if such a thing is possible! Many of the werewolf sequences were also rather artfully photographed, but not in a good way, more to the disappointment of the viewer. This is a monster movie, as such, the obscured shots and darkened lighting work to establish atmosphere and tension at first. But there needs to be an awesome payoff. The massacre finale should've been the coup de grace, but it's shot again in an artful way that diminishes the spectacle and impact, almost like the director was afraid to go for it lest they be lumped in with "bourgeois'" horror. In the fear of becoming bourge' the movie loses entertainment value.

THE VERDICT

There were many intriguing and cool elements to this film, but they lacked strong cohesion. In the end the film showed so much potential, yet could not come together in a remarkable way. All in all, I feel there are more positives than negatives to the movie, if only just. I'm glad I watched it and would love to see a recut of the film, shorter, smoother editing, and a pulled back straightforward bloody massacre finale. This movie was a hair's breath away from greatness, needing only tweaks here and there.

Overall Ranking: 6 out of 10

Nude-O-Meter: 2 out of 10



I'd recommend it to any who are interested, especially to werewolf and gothic horror enthusiasts. 

For more of our thoughts on horror, check out the posts below!

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