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Dr Jekyll & Sister Hyde 1971 ★★★½
If I had any recollection of really getting in touch with the Hammer films, than it disappeared from my memory. I think I saw one or two before, but I cannot for the life of me remember which, let alone when.
So for comfort's sake, I will consider this one as my introduction to Hammer films. A Dr Jekyll-Jack the Ripper crossover set in nineteenth century London. Now that I think of it, there is a tv film on Jack The Ripper with Michael Caine that also features Jekyll and Hyde. Wonder if this parallel goes any further.
I must say, for an early seventies horror, the special effects are already a tad bit underwhelming. I realise it's not fair (It's still six years until Dawn), but even more than ye old English, the old time stabbey fun give it more of a vintage vibe. This looks more like it was filmed in the (early) fifties than in the seventies. Apart from a few good looking hand transformation scenes.
This puts the emphasis more on the drama and the characters and that is well done. First of all, the Sister Hyde-idea adds a nice twist to the classic Jekyll and Hyde story. Secondly, and in hindsight more importantly, it inadvertently opens up the possibility to interpret this as a pro transgender movie. A lot more than, say, Sleepaway Camp.
The upstairs neighbours see Sister Hyde and just accept her at face value. She looks like a woman, eats like a woman, walks like a woman and (probably) swims like a woman, so it's probably... Howard even makes out with Sister Hyde and never is the wiser.
The story also decides to make Sister Hyde a killer as well, perhaps even more ruthless and vicious than Doctor Jekyll is. From her stance and inflection, you can deduct that she would have no trouble dealing with the seedy types where Jekyll acquires his “research material” or putting them in their places.
The movie owes a great deal to the actors. Ralph Bates and Martine Beswick do the best as the disturbed Jekyll and the wicked Hyde. The rest were perhaps not great, but not terrible either. The costumes also add to the athmosphere, as well as that typical English. The only line missing was something akin to 'I say, old girl, you just stabbed me. Stuck ya throat cutter in me neck, you did.' And, lest we forget, a nice dramatic conclusion with perhaps a nod to King Kong.
A good start for my Hammer exploration and a recommendation for every Hammer enthusiast who has not seen this one yet.
Alien 1979 ★★★★★
For someone so used to streaming and watching TV at your own tempo as I am, spending the weekend with relatives does have its perks. Like reintroducing you to watching linear tv. My face when I think “oh cool, Alien is on”. The anticipation, the aimless channel flipping to kill time. Also, the downers. If you doze off during the film, there is no rewinding here, baby. Haha.
To be honest, I thought I had already written my review for this one, but maybe I was mistaking. Perhaps partly because the first thought on my mind was “What can I say or add”. And that in itself says a lot. Alien is one of those tried and true classics that stood the test of time and never gets old. Even on a fifth or tenth rewatch.
From the very start, you can tell the difference. Where Star Wars and other films were grand and majestuous and clean, this one is dirty and grimey. The main thing is the cargo and the crew's comfort is not all that important. Hence, the banter and complaining about the food. And subtly foreshadowing the later reveal.
The tension is palpable. Partly due to the fact that the danger can come from pretty much everywhere and that there is neither an escape route or help coming. In space no one can hear you scream indeed. And that's supposing anyone would want to send help in the first place. As Mother puts it after some pushing by Ripley... “crew expendable”. And Ash? Well, he's a robot anyway, so, you know... but still, that reveal scene still stands as well.
Another reason is the nature of the Xenomorph. The speed with which it evolves and grows, its size, the fact that you cannot shoot it or that its “blood” easily melts through the floors and ceilings,... and once it gets you, you're a goner. Like when Dallas gets it.
But the first kill is the most iconic. John Hurt convulsing in agony, not knowing what is happening to his body before the Alien bursts out. A terrifying way to go. Reinforced by the reactions of the other crew members. Horror afficionados probably already know the story of how Ridley Scott deliberately kept the crew in the dark about the specifics of the scene in order to make the terror on their faces as genuine as possible. Poor Veronica Cartwright, whose face was completely covered in blood.
However, she is not the main star of the movie. That honour goes to Sigourney Weaver. She can convey the determination and the take no crap-attitude that makes her the badass she still is. Not to mention being right all the time. Don't bring in Kane with the facehugger still on him... Oh crap, they did. Motherf...
And the ending sequience in the escape pod... phoah. You feel for Ellen as she gets in her suit with fear pulsating in every part of her body. Or how she rallies herself by singing “lucky star”. As much as I can empathize with Ridley Scotts frustration (spending the entire production penny pinching and arguing about money and then in five seconds a truckload of money heads out the door), even he has to admit in hindsight that it worked. And her relief as she signs off is the perfect ending to a timeless.
A must see for every horror fan and every cinephile in general.
Christmas Evil 1980 ★★
Two Christmas movies, only suitable for the time of year. Although, this one...
Being a non-American, I have never had the “pleasure” of watching a faith based movie in general, let alone a Pureflix movie. But based on their reputation and things I heard on YT, this one approaches their levels of what the fuckery.
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