Dark Match

 

Dark Match

2024

Director- Lowell Dean

Cast- Ayisha Issa, Steven Ogg, Chris Jericho, Mo Adan, Jonathan Cherry, Sara Canning, Michael Eklund, Jonathan Lepine,  Justine Lawrick, Leo Farad, Mitch Clark

            Something that every organization or community has is its own lingo; phrases and terms that outsiders don’t usually know. This is true for martial arts dojos, union halls, the military, the boy scouts, and cults. Professional wrestling practically has its own lexicon of hundreds of terms known only to its participants and loyal fans.

The term in question here is “dark match.” It refers to a non-televised match. In the old days it might be used to describe matches before or after a televised show, or occasionally a non-televised match where something unpopular might happen, like a heel (the villain) winning a title.

The term isn’t used much anymore since every organization is always looking for more content for all the various streaming services. Today the much less menacing term “house show” is used to describe non-televised events where fans can see their favorite wrestlers, usually in much smaller venues, competing in matches that don’t affect the planned storylines.

Dark Match follows a tiny independent wrestling promotion in the late 1980s. Very small, it consists of a handful of wrestlers, either past their prime or never having made it to the big time. The protagonist of the film is Miss Behave (Ayisha Issa), a heel character who regularly loses to her blonde babyface opponent, Kate the Great. Miss Behave dreams of the big time but knows she’ll never get it working in the small organization. Her boyfriend, Mean Joe Lean (Steven Ogg), is an aging former champion on the tale end of his career.

The organization gets invited to perform in a dark match for a celebration in a rural town. Even though it seems sketchy, they are offered a sizable enough chunk of change to lure them all in. After arriving, they find themselves the prisoners of a satanic cult led by The Prophet, a former wrestler who had a religious gimmick and was eventually black balled from wrestling (played by real life pro wrestling champion Chris Jericho). The cult is planning an elaborate ritual that requires five sacrifices and the wrestlers are forced to fight each other to the death.

It’s a fun concept and well executed. There isn’t a lot of wasted time and we get to know the principal characters pretty quick. The film doesn’t look cheap, but it does have a dull gritty appearance that will remind you of watching an old VHS. If I had any complaint its that only a few of the wrestlers’ characters are developed. I think of the classic fighting match movies like Enter the Dragon or Bloodsport and those movies did a pretty good job of giving a lot of the fighters distinct looks and personalities. Dark Match could have benefited from more of that.

If you are old enough to remember wrestling before the WWE was luring in global audiences, you’ll remember the old regional promotions with wrestlers mainly known only to people in a 3 or 4 state area. You might see the recorded matches televised on a local channel on a Saturday afternoon and were just as likely to see the wrestlers picking up a 6 pack at a local gas station as they passed through. Dark Match conjures up just enough of that feel to cause some inner synapse zaps for people that can remember those days.

Check it out it if you’re a fan of wrestling and horror or if you are just looking for something different.

           

Longlegs

 

Longlegs

2024

Director- Oz Perkins

Cast- Maika Monroe, Blair Underwood, Alicia Witt, Kiernan Shipka, Michelle Choi-Lee, Nicolas Cage

            A series of brutal murders have taken place where entire families have been killed. The killer has left behind no physical evidence save only a coded message signed “Longlegs.” Enter onto the scene Special Agent Lee Harker (Maika Monroe}, a FBI agent with precognitive psychic abilities.

            Her boss (played by Blair Underwood) is looking for a serial killer but Harker believes. that there may be some larger conspiracy at work. As Agent Harker delves into the case, she has visions and flashbacks that indicate that she may have a personal connection to the killer. She eventually encounters a satanic dollmaker (Nicolas Cage). As she pushes on with the case, the truth, and the full horror, is finally revealed to her.

            In the publicity for the movie, Longlegs has been repeatedly compared to Silence of the Lambs, but other than the protagonist is a female FBI agent, the films have little in common. Lambs is a very down to earth police procedural. It’s the realism and believability that gives Lambs its power as a horror movie.

            Longlegs, on the other hand, has obvious supernatural elements, that are present from the beginning of the film. Its more in the vein of The First Power, Fallen or Exorcist 3 (though its not nearly as effective as Exorcist 3, few films are).

            If you are familiar with Oz Perkin’s other films, you know he’s good at creating a creepy, oppressive atmosphere. He also tends to go with ambitious ideas that aren’t necessarily easy to flesh out in a typical Hollywood movie run time. Perkin’s Gretel and Hansel, for instance, was far more ambitious with its subject matter than what it was able to achieve. In Longlegs, Harker’s psychic ability, for instance, isn’t that thoroughly explored.

          

      But Perkins is able to get really good performances out of actors, and that’s the best selling point of the film. Maika Monroe is very convincing as the tentative, often anxious FBI agent whose world starts unraveling just as she unravels more of the Longlegs mystery. Kudos to whoever thought of casting Blair Underwood. I guess to me he’s still the character from LA Law, but a quick review of his filmography shows that he’s had plenty of experience playing this type of character. Alicia Witt (who played Alia in David Lynch’s Dune) is convincing as Harker’s unhinged mother. Nicolas Cage is, well, Nicolas Cage.

            The most surprising performance though was Kiernan Shipka as Longleg’s one surviving victim, now driven insane and living in an asylum. As I watched the film, I kept thinking, wow she looks familiar, but it wasn’t until after the fact that I realized it was her. Oz Perkins must really know how to get the best (or maybe worst, as it were) out of Shipka. She made her horror debut with Perkins at the age of 15 in The Blackcoat’s Daughter, and she was pretty scary in that.

            An argument could be made that both Longlegs and Blackcoat’s Daughter take place in the same universe. They both revolve around satanic themes. Both have similar, albeit brief, depictions of the devil. In both films, the devil’s real power is in his ability to drive people to do terrible things.

            If you are looking for an occult thriller, Longlegs is worth a trip to theater. If you don’t get the chance to see it now, it will certainly be worth streaming this spooky season.

Immaculate

 

Immaculate

2024

Director- Michael Mohan

Cast- Sydney Sweeney, Álvaro Morte, Benedetta Porcaroli, Dora Romano, Giorgio Colangeli, Simona Tabasco

            Sister Cecilia (Sidney Sweeney) is a young nun who has just arrived at a convent in Italy. The convent serves as a hospice and retirement home for older nuns, many that are close to death or who have developed dementia. The younger nuns, like Cecilia, take care of their elderly Sisters in their twilight years.

            After a short time in the convent, Cecilia becomes sick and it becomes quickly apparent that she is pregnant. After a rudimentary examination, her pregnancy is proclaimed a miracle, an Immaculate Conception. Cecilia is immediately placed in a position of reverence among the other sisters but the miracle begins to seem sinister and Cecilia starts to wonder what horrible thing has truly happened to her.

            The movie mixes equal parts religious trauma with body horror. Cecilia is quickly reduced to an unimportant object whose only value is in giving birth, regardless of her own desires or the dangers. Also, despite being in an environment surrounded by women, she finds herself at the mercy of men, as the Father, the Cardinal and the convent’s male doctor have complete say as to what happens to her.

Isolation, dogma, and hierarchy are used along with psychological gaslighting to create confusion and dread. The viewer knows that the truth, whatever it is, won’t bring relief.

            The film’s budget, though comparatively large by independent standards ($ 9 million) is still rather small by Hollywood standards. The film, which languished in development Hell for years, was saved by Sweeney’s recent Hollywood success. She had auditioned for the role years ago, and then ultimately became one of the film’s producers helping to finally get it off the ground, which makes this a bit of a passion project for her.

            It’s a very American film but has visible roots in Italian horror. First there is the location, with principal photography taking place in Rome and much of the dialogue being in Italian. The film further shows its love of Italian horror with a prominent use of Bruno Nicholai’s “Servizio fotografico” from the giallo, The Red Queen Kills Seven Times. There isn’t a lot of gore in the film, but what there is, is very graphic and Fulciesque with people’s faces being obliterated in a way that would have seemed natural in one of Lucio Fulci’s films. Also, though the film is not a gothic horror, it has a gothic aesthetic. Sweeney, walking through the darkened convent corridors with only a candle to guide her, clothed only in a thin white gown, looks very much the part of a gothic heroine.

            The film is a competent horror movie that most horror fans will find enjoyable, at least for one view. However, the story unambiguously deals with the very modern issue of reproductive rights, and there will be a few people who will identify very much with the protagonist’s struggle. I can easily see Sweeney’s nun taking her place alongside Florence Pugh’s Dani from Midsommar or Mia Goth’s Pearl, at least for the people who will identify closely with her.

           

Poison for the Fairies (Veneno para las hadas)

 

Poison for the Fairies (Veneno para las hadas)

1985

Director- Carlos Enrique Taboada

Cast- Ana Patricia Rojo, Elsa María Gutiérrez

From Mexico

            This charming tale from Mexico follows the relationship between two elementary school age girls, Veronica and Flavia. Veronica is raised by an older nanny who tells her stories about witchcraft. Rather than being scared, Veronica is fascinated. Flavia is raised by rich parents who have instilled a sense of skepticism about the supernatural. Both are classmates in a parochial school.

            Veronica tells Flavia that she is a witch. Flavia is incredulous but Veronica begins to create doubt in Flavia’s mind after her piano teacher suffers a stroke. Veronica cultivates a relationship with Flavia, partly through piquing Flavia’s curiosity and partly through intimidation.

Veronica develops a plan to brew poison for the fairies that she says are living around them and enlists Flavia’s aid in acquiring the ingredients. As their relationship continues, Veronica becomes more domineering and abusive until things finally come to a head.

Despite the prevalence of witchcraft and the occult. Poison for the Faries is not  really a scary film. It is a story about the power that belief has over us. In this regard it is similar to The Witches and The Juniper Tree. It is also a very realistic portrayal of child psychology. The viewer sees the world through Veronica and Flavia’s eyes, and as such, we never know for certain what is real verses a child’s exaggeration. The movie focuses entirely on the two girls. Adult characters, when present, are faceless, much like the adults in a Peanuts cartoon. It also broaches the uncomfortable subject of evil in children. Can a person already be “bad” at a young age? 

            An intelligent film that is horror, not because of any particular imagery, but because of its unsettling look into the minds of children. There is no sex or profanity so its also totally appropriate for any younger viewers who are mature enough to appreciate its themes.

Still want more: Check out Don’t Deliver Us from Evil, a more grown up, and salacious, examination of similar themes of occult belief in adolescents.

          

The Pope's Exorcist

 

The Pope’s Exorcist

2023

Director- Julius Avery

Cast- Russell Crowe, Alex Essoe, Laurel Marsden, Peter DeSouza-Feighoney. Daniel Zovatto, Ralph Michael Ineson, Franco Nero

            This film serves as a dramatization (with a quite a few liberties I imagine) of the real life exploits of Father Gabriele Amorth, a Catholic Priest and exorcist who, over the course of his life performed some 160,000 exorcisms (when did he have time to eat and sleep?).

            This story follows Julia (Alex Essoe) and her two broody children after they have just relocated to Europe. Apparently, her husband has died and her only possession is a ruined abbey that had been in her husband’s family for centuries. Construction crews, knocking about, free a trapped demon that promptly possesses Julia’s son and terrorizes the family. The local priest calls Rome for help and Russel Crowe is dispatched to do battle with the demon.

            The Father soon figures out that possession is just a small part of the demon’s plan. A long-buried conspiracy comes to light as he peels away the layers of the demon’s machinations.

            If you are expecting a full-on horror show like The Exorcist or a taut thriller like Exorcist 3, you better pump the brakes now. The Pope’s Exorcist is a horror movie but played more for entertainment. It reminded me of a bigger budget version of Paul Naschy’s Exorcism than a typical possession film.

            Horror fans will find a lot to like. The film isn’t particularly scary but has lots of nice, creepy and satanic imagery. There are some good practical make-up effects and only in a few places does the film indulge in obvious CGI.

There is also a good horror cast. Daniel Zovatto (Crowe’s fellow priest in the film) has done a few horror films including It Follows. If Alex Essoe looks familiar its because she’s developed quite a horror resume even though she isn’t really thought of as a scream queen just yet. She’s starred in Tales of Halloween, Midnight Mass, The Haunting of Bly Manor and played Wendy Torrence in Dr. Sleep. And if the voice of the demon sounds familiar, that’s because it's Ralph Ineson known to many from his roles in Game of Thrones and The Witch.

            The most unusual casting though has to be Franco Nero as The Pope. Yep, you read that right. The original Django and the titular character in Cannon’s inaugural ninja film, Enter the Ninja, plays the most virile looking Pope you’ve ever seen.

            Franco’s unusual casting aside, The Pope’s Exorcist isn’t going to live forever in the annals of satanic cinema. However, if you are looking for a fun scary diversion for 90 minutes, there are worst ways to spend your time. 

The Haunting of Morella

 

The Haunting of Morella

1990

Director- Jim Wynorski

Cast- Nicole Eggert, Lana Clarkson, David McCallum, Christopher Halsted, Jonathan Farwell, Maria Ford, Gail Thackery

            The movie begins with a witch, Morella (Nicole Eggert best known from the 80s sitcom Charles in Charge and her stint on Baywatch), being tortured by a mob of angry villagers. Her milquetoast husband stands by with their infant daughter while villagers prepare to finish her off. Morella pronounces a curse that her spirit will live on in the body of their child, Lenora, and that one day she will have her revenge.

            Fast forward and Lenora (also played by Nicole Eggert) is 3 days away from her 18^th birthday, upon which she will come into an inheritance (in a rare bit of spot on casting, Nicole was herself 17 at the time and 4 months away from her 18^th birthday).

Her father has become eccentric over the years and a tad unhinged not to mention he has also gone blind. Lucky for them he’s filthy rich. He has kept Lenora confined to their plantation her whole life. He secretly fears his dead wife’s curse and hopes to shield her from anything that might bring out his dead wife’s spirit.

He is aided by a governess Coel (statuesque Lana Clarkson better known to fans from her sword and sorcery movies like Deathstalker and Barbarian Queen). Unbeknownst to him though, Coel was a disciple of Morella and secretly works to bring back her dead mistress’ spirit.

A young handsome, lawyer shows up with legal papers for Lenora’s inheritance but he’s quickly turned away lest he stir up Lenora’s adolescent loins and risk a return of Morella. Coel decides to take matters into her own hands and leaves Lenora’s father’s diary conspicuously out for Lenora to find. From its pages, she learns the truth about her mother.

Morella, it turns out, wasn’t just a witch, she was working on a Bathoryesque scheme for immortality, complete with bathing in virgin blood. This proves to be just what the witchdoctor ordered. Morella’s personality begins to surface and Coel begins dark, bloody rituals to hasten her mistress’ return.

The movie was directed by Jim Wynorski (best known for the 80s horror-comedy, Chopping Mall and the mainstream debut of Traci Lords in Not of This Earth). It was produced by Roger Corman. It is nominally an adaptation of a story by Edgar Allan Poe. But if you’re familiar with Corman’s work (i.e. Pit and the Pendulum, Masque of the Red Death among others), you know better than to expect a strict (or even faithful) adaptation. This is fine by me as Corman’s Poe pics were all pretty entertaining, just don’t watch one to help you write your book report.

Rather than Poe, this film is more like an erotic retelling of Mario Bava’s Black Sunday. Both films begin with a witch issuing a curse before her execution. Both films have a Gothic setting. Both involve the spirit of malevolent ancestor trying to replace their innocent descendant. Both have the star playing two characters, one evil, one good (this was something that Barbara Steele did several times in her career, including Black Sunday).

Now, I don’t want to sound like I’m equating Black Sunday with The Haunting of Morella. Black Sunday was a landmark film that spawned the Italian Gothic horror genre. Morella is, when it comes down to it, a B movie, all be it a B movie with pretty good production values.   It looks as good as the better Full Moon pictures of the same era. It has impressive sets, a good musical score and good costumes (though probably too revealing for its vaguely early 19^th century American setting).

            But more importantly than what it is, I think you’ll notice what it isn’t!. If you know Wynorski’s catalogue, this film is distinctly unlike most of his other offerings. His older 80s stuff was very entertaining but very tongue in cheek. His 21^st Century stuff has mostly been T&A flicks with porno names (Bare Wench Project, The Da Vinci Coed, The Breastford Wives, Witches of Breastwick….see a pattern here?).

            The Haunting of Morella, on the other hand, is dead pan serious. If I didn’t know better I’d think it was directed by some alternate universe Wynorski. It makes me wish he’d a done a few more movies like this. That’s not to say that this movie is without his signature dose of nudity. There is a fair amount of nudity here. Lana Clarkson fans, especially, will be pleased by her rather lengthy nude scenes.

            But even though Nicole Eggert was seventeen at the time, you don’t have to worry about Chris Hanson showing up if you decide to watch this. This isn’t To the Devil aDaughter. Though Nicole has several erotic scenes, all of the nudity is accomplished with editing and a body double. The use of a double is so obvious in fact, it’s a bit distracting. If I have any complaint about the movie it would be that they should have just ditched her naughty scenes rather than try to pull them off in such a convoluted fashion.

            As for the performances, Nicole was good, especially for someone so young. I wish that she had spent more time in horror because I think she could have been a good scream queen. It was interesting to see Lana in a much more reserved role without a sword. Older fans may recognize David McCallum as Lenora’s father. He was in the creepy Disney movie Watcher in the Woods but he is best known as Illya Kuryakin in The Man from U.N.C.L.E.

            So to sum up, if you’re wanting a thoughtful adaptation of Poe, this is not the film for you. But if you like Gothic creepiness, and you enjoyed Full Moon and Vestron flicks from the 90s, then you will probably find this erotic thriller both entertaining and possibly a little arousing.