Category Archives: Viva España!
Paranormal Xperience 3D 2011
Directed by: Sergi Vizcaino
Starring: Amaia Salamanca, Alba Ribas, Miguel Ángel Jenner
Review by Luis Joaquín González
Like most slasher fans, I’d be a liar if I said that I hadn’t considered making my own entry to the sub-genre. On the drive from Aracena, my family’s pueblo, to Huelva, there’s an old quarry that is one of the most historical sites in Southern Andalucía. Nowadays, Parque Minero Riotinto has a museum that displays artifacts from its 3,000 years as Europe’s biggest mine. The story began with the Phoenicians hunting for copper, and as the tides of time swept over the Iberian peninsular, the Romans took over when they discovered large stashes of silver. In the late nineteen-hundreds, an entrepreneur from London purchased the site and it became one of the first British settlements in Spain. Even if the visitors loved the hot weather and spacious deserts, they missed a few of their own novel customs and decided to introduce them to their gracious hosts. Before long, a Golf course was opened and a soccer team by the name of, Recreativo de Huelva. None of those early settlers could have predicted that they had laid the foundations for the creation of the league that would give us the largest match in the world, ‘El Clásico’ between Real Madrid and FC Barcelona.
With its dilapidated tunnels and isolated landscape, I often felt that the Riotinto mine would be the perfect location to shoot a slasher movie. A lack of time and funds however meant that I never took my daydreams further than the initial stage. When I learned about the production of XP3D, I hoped that the crew would make the most of the concept and I can’t deny a slight satisfaction in thinking that an idea of mine was actually being developed for the big screen. Albeit, by someone else and without my involvement :((
A group of medical students are given the task of hunting out any truth to the rumours that surround an abandoned mine. Years earlier, a professor ruthlessly butchered some locals, but his corpse was never discovered and legend dictates that he still roams the grounds. Due to a lack of transport, Ángela invites her younger sister, Diana, who owns a van to join them on their expedition. Their relationship broke down after their father committed suicide and since then, they have never seen eye to eye. Almost as soon as the group arrive, they sense an ominous presence and are left having to fight to survive…
I’m from Andalucía and the fact that so much of Spain’s globally recognised culture comes from my community (Siesta, Toros, Flamenco, Tapas etc) makes me extremely proud. Even Cristóbal Colón set sale on his groundbreaking journey of discovery from the ports of Huelva. When it comes to slashers though, I have to take my hat off to Cataluña, because their track record of Los Inocentes and Los Ojos de Julia speaks for itself. XP3D is another Catalan entry and I was keen to see if it could be the Luis Suarez to sit alongside Messi and Neymar in their slasheristic attack.
On a relatively light budget of €3,200,000, the film looks as good as any of the entries that have thrown untold-millions behind their developments. Shooting in contained underground environments is always a recipe for a bad lighting rig, but Rosa Ros’ sets are extensive in their detail and perfectly displayed. Whilst It takes around forty minutes for our first killing, Paranormal Xperience sustains interest due to an exquisitely mastered intro, which I won’t spoil for you. I will say though that it is a masterclass of tension in a confined environment. From then on, we spend time with a group of youngsters that may not be extensively developed, but they are at least likeable and given interesting tweaks. It was a risk to fill the cast with actors that hadn’t even really made a mark in TV shows, but the dramatics are surprisingly solid, especially from Maxi Iglesias and Amaia Salamanca as our beautiful heroine. Although they prove that they weren’t only cast for their physical appearance, the camera does linger longingly on Úrsula Corberó’s rear-end almost as many times as it does her face. I guess though, a culo like hers deserves to be appreciated 😉
Director Sergi Vizcaino shoots the action with a visible gloss and it gives the film an adroit realism. I recall the advertising campaign, which created the impression that we were in for an out and out gore extravaganza. We do get an extremely gruesome CGI head-rip and a wince worthy moment where a rock hammer is removed from a victim’s eye socket (nasty), but not everything was shown on-screen. I did like the look of the antagonist, who sports a ‘Phantom of the Opera’ style half-mask, but his taunts are neither threatening nor witty, which leaves them lingering without substance.
Even if Spanish cinema is renowned for its unique character driven narratives, I’m the first to confess that we do often make films that are inspired by Hollywood trends and conventions. Following the success of Saw and My Bloody Valentine in 3D, XP attempts to follow In their footsteps with the same visual gimmick. In doing so, I feel that the film sacrificed some of its potential. It’s almost as if they were halfway through writing the script when a producer came up with the idea of 3D and then everything else fell by the wayside. All the realistic dialogue and depth that had been visible from the launch suddenly evaporates and it felt like someone gave acupuncture to the second-half of the screenplay. The characters clearly have mobile phones (I won’t mention the most obvious Sony product placement ever) and use them to contact each other whilst at the mine. When the killings finally start, not one of the panicking victims even mentions calling for assistance, which looked like a bizarre thing for the author to overlook. (?) In fairness, the invention of cellular technology was the biggest challenge that the slasher genre’s basic structure has ever faced. It can be overcome though with a simple line of goofy but expository dialogue like, ‘My battery’s dead’ or, ‘I have no signal’ (I mean, they were in an underground mine). Штольня even went as far as to give us a scene that explained the lack of a call for help; – and whilst that’s not always necessary, anything looks better than absolutely nada.
Another issue is that the film overestimates the intelligence of its gimmick. I won’t tell you how so as not to ruin any potential surprise, but it reminded me of an excited present bearer that wants to tell you what your gift is before you shake the box or rip the wrapping paper. There’s nothing wrong with a twist, because many slasher movies are built upon them, but it was easy to predict the outcome here. It could also be said that the storyline doesn’t really know what it wants to be. We launch along a pathway that makes us believe that we’re watching a film about a haunting, which makes sense considering the ‘paranormal’ title. Then the masked killer turns up and we slot into the traditional template without a second look. I mean, they do mention a supernatural-ish aspect later, but it felt like it’d been bolted on at the last minute when someone on set said to the screenwriter, “Yo dude, what about the ghostly stuff?”. The response was probably something along the lines of, “Oh yeah… Damn it, I forgot about that…” I don’t know; it just looks like the script was completed in a week and based on a combination of ideas that were cobbled together in haste. If you compare XP with Los Inocentes, it’s easy to see that one had a logical plan THAT WORKED and the other plays like a skateboard rolling down a pebbled hill.
It’s a strange analogy, but you can’t prepare a good curry by simply throwing in more spice. It’s about the finer details; the timing, the seasonings, the blend of the right herbs. XP borders on being an exquisite main course, but the fact that it throws too much into the Tandoori oven, leaves it a bit too overdone to be truly succulent. Not even a helping of gore-soaked poppadoms could perfect the taste. So with that I’m off to the kitchen…
Atrapados En El Miedo 1983
Directed by: Carlos Aured
Starring: Adriana Vega, Sara Mora, José Luis Alexandre
Review by Luis Joaquín González
My recent love-in with Mexican slashers (Muerte, Bosque, Masacre) made me feel the need to dig out the last few of my own country’s entries. I wanted to confirm to myself and y’all that Spain could compete with other nations that speak our wonderful language and prove that we are indeed the Hispanic kings of the slasher category. After seeing Atrapados en el Miedo, I wish I hadn’t bothered…
This one comes from Carlos Aured, who had made a name for himself with his cult pictures of the seventies. His career began as an assistant for Leon Klimovsky and he soon progressed to the director’s chair to unleash some solid horror features, such as: El Espanto Surge de la Tumba and Los Ojos Azules de la Muñeca. Like many exploitation gurus that had achieved a modicum of prior success, the slasher boom of the early eighties gave Aured the desire to grab a slice of the cash pie that the filmmaking world had been scoffing. Atrapados would be his very own addition to the cycle and it was, in effect, his last movie. What a way to signal your departure from cinema.
Four youngsters head off to a secluded house in some woodland to spend a romantic weekend away from the rat race of Madrid. Little do they know that an escaped lunatic is also hanging around the site and he has murderous intentions for the foursome…
It’s only early December and already the Christmas parties have begun. There are few things worse than going to work after a night of heavy drinking. Your brain is a mangled mess of alcohol, cheap aftershave and cigarrillos and whilst you may be at your desk in body, you’re certainly not there in either awareness or spirit. The clock drags by like a one-legged tortoise on tranquillisers and a trip to the server room for a sly power-nap is an absurdity that seems more and more attractive. I look at Atrapados en el Miedo and I can only presume that Carlos Aured, for all his previous experience, was drinking a bit too much during the production. Either that or he’d gone insane. Actually, this was his last picture, so maybe I’m on to something there…
So where do we start? Well, with the ‘original’ aspect of a unidentified stranger breaking out of an asylum. This is demonstrated to us on-screen by a guy jumping over a wall that has a sign that says ‘mental hospital’ on it. Do we actually get to see this Mental Hospital? No. Did the crew in reality just stick a sign on the brick wall at the bottom of the producer’s back garden? Quite possibly. So with no idea who he is, what his motivations are or why he escaped, we are meant to be scared of this normal looking bloke with a curly mullet. Perhaps he was just at the asylum visiting his grandma? Maybe he was actually the groundskeeper? I mean, he was wearing a green woolly jumper. Ah, no, no; that can’t be the case. He breathes like an asthmatic after smoking twenty whole packs of Marlborough Reds. If you know your slashers dear reader, you’ll know that during the eighties, only Darth Vader and stalk and slash psychos did that; – and this sure as hell ain’t no Star Wars film.
Next up we see two Spanish chicas walking through a park. I have to give credit to Carlos Aured, because one of them, Monica, was honestly one of the most beautiful women that I have ever seen. (Except for my Mrs of course – you know, in case she’s reading). In fact, whilst watching, my partner said to me, “Do you think that girl’s pretty?” I replied, “What girl? Oh that was a woman on screen? Sorry I didn’t notice.” 😉 Anyway, Monica’s friend, who’s also at the high end of the ‘eye candy’ scale, attempts to steal a kiss in the most unconvincing lesbian clinch ever filmed. Clearly confused by her feelings, Monica sprints off into the trees where she is attacked by a stray dog. Don’t worry my dear, I’ve had days like that too. She is saved from a mauling by an unseen somebody who beats the aggressive mutt with a large branch. Just when she thinks her luck has marginally improved, Monica’s hero turns out to be our bogeyman and he begins strangling her with said branch. Her friend/would-be lover hears the commotion and sprints over to assist, but she too meets her fate at the hands of the escaped loon.
So now we are introduced to two pals and two sisters that are travelling to a remote house to study molecular science. Not really, they’re off to make ‘lurve’; a fact proven by one of the guys continually cracking sex-jokes that are so bad, even his best friend tells him to take a break. We look on as the pair of hombres go to a shop and get some booze, face the drama of not being able to buy any yoghurt and have to overcome the trials and tribulations of a puncture on their Mercedes. Meanwhile the muchachas stay at home and do very little aside from spout the silliest dialogue I’ve ever heard and look gormless. Eventually after offing the daughter of a couple of shopkeepers (who was minding her own business on a groovy bicicleta), the killer turns up and slowly begins ‘terrorising’ the couples.
I guess that with the Latin looks, cruddy dialogue, shaky photography and dumbfounding scenes, Atrapados reminded me a tiny bit of Andrea Bianchi’s Burial Ground. The only difference is that whilst Ground had bundles of gore, this lazy Spanish effort is essentially bone-dry. Also, I know that the music in Bianchi’s ‘classic’ was pretty off-kilter, but Código Exterior’s scoring for this is absolutely hideous. It starts with a poorly timed jazz-piece that’s as bad as an ogre playing the bagpipes and then continues to go downhill from there. If you recall Mask of Murder‘s heinous guitar lick that highlighted every ‘twist’ in the story, these guys manage even to ‘out-awful’ that with their accompaniment. It’s truly cringeworthy.
I mentioned earlier Aured directing Atrapados like he had a monster hangover throughout the production, well this is especially evident in the film’s pacing, which completely slows to a standstill during the mid-section. There’s only so much of four people spouting absurd dialogue in a small house that I can take before my eyelids come over all heavy and I begin to snooze. When the killer finally turns up, we get a conclusion that might have been ok if we could make out anything that was happening. We’ve seen on the TV that directors shout, “Lights, Camera, Action!” It looks like Aured, in his drunken stupor, forget the ‘lights’ bit. I don’t know, I just feel that an 83 minute runtime that features only three on-screen killings seems a bit tame, but maybe I’m a tough cookie to please. Where I guess that the film does succeed is in its level of bad movie-ness that’ll appeal to those that love Nail Gun Massacre, Boardinghouse, Night Ripper and the like. I already mentioned the conversations and soundtrack, but that’s really only the tip of the iceberg. Other things that stood out were that the girls getting attacked by the psychopath, but completely forgetting about it only moments later and when he returns for our heroine, she goes into a trance-like state and has to be escorted from the premises by her poorly-acted buddies. Just when you feel that every basic filmmaking principle has been shattered, the final credits show an HP Lovecraft quote that has absolutely *nothing* to do with anything we’ve witnessed…?
We live in a time now where a unified Spain could be a thing of the past as the likes of Cataluña regularly campaign for their own independence. I believe that we should stick together, but I wouldn’t mind seeing the back of the guys that made this particular picture, whatever autonomous community that they are from. We could revoke their passports for treason or something. I’m joking, of course, but one thing I will say is that Atrapdos en el Miedo translates to Trapped in Fear. I admit that it’s a cool title, but I have thought of one that’s far more suitable: Atrapado en el Baño con una Gran Caca… I’ll let you Google translate it…
School Killer 2001
aka El Vigalante
Directed by: Carlos Gil
Starring: Paul Naschy, Carlos Fuentes, Zoe Berriatúa
Review by Luis Joaquín González
Spanish people, in general, are notorious for doing things slightly differently than everybody else. It’s an unwritten rule for us that we take a standard task and add our own slant on it, whether it be for the better or for the worse. That’s why I wasn’t surprised that this post Scream inclusion to the stalk and slash cycle wasn’t by any means a run-of-the-mill genre entry.
El Vigilante or School Killer – as it’s known on these shores – was released with something of a buzz during the early noughties. This was due to the fact that it included a starring role for Paul Naschy who was Spain’s very own Christopher Lee. He was a former bodybuilder that stepped into Lon Chaney Jr’s shoes to portray ‘Wolfman’ Waldemar Daninsky in a script that he had penned for Hell’s Creatures (1968). He reprised the popular role for the series of sequels and became a horror icon by playing Dracula, The Mummy and even Jack the Ripper throughout the following decades. Perhaps the purest example of a fan dedicating his life to the genre that he adored, Naschy passed away in 2009 at the age of 75, leaving behind over a hundred movies.
It’s a shame that such a charismatic actor didn’t make more slasher films. With his hulking frame and imposing presence, he was perfect bogeyman material. His participation in the obscure El Lado Oscuro (2002), the Giallo, El asesino está entre los trece (1976), and this new-age stalk and slasher are the only examples that we have of him slashing it up. The plot for School Killer seems fairly routine at first glance and involves a group of six kids heading off to a dilapidated school to spend a weekend exploring the creepy corridors. Upon arrival they notice that some lights are turning on and off by themselves and it seems that they’re far from alone. Soon after, they begin being stalked and slaughtered by the deranged groundskeeper. The strange thing is, he was supposed to have died many years ago…
I was having a chat recently with Haydn Watkins, co-author of the upcoming book Alone in the Dark: 80 years of stalk and slash. He agrees with my controversial theory that A Nightmare on Elm Street is a tad too supernatural to be a standard inclusion to the genre. If that’s the case though, how do I justify putting a film like this on a SLASH above? Well, whilst there are ghostly apparitions here and even jumps in the time/space continuum, the hulking maniac murders victims with methods more common to the standard template than Freddy’s subconscious fantasies. We get stabbings, slashings and a gruesome decapitation that allow us to be sure that this is on the right website.
Director Carlos Gil had been a successful assistant to Steven Spielberg on the original Indiana Jones trilogy. His experience is clearly evident here and he wraps the movie in a foggy blue tint of cinematography that works wonders in setting the tone of desolation. A large campus is used as the backdrop for the stalking scenarios and the darkened corridors isolate the players exceptionally. Naschy gives us a killer with a relentless brutality and although generally I prefer a strong silent antagonist, his delivery of grim dialogue does add ruthlessness to his impact. Only a couple of the main cast members are clearly developed and the rest were pretty much interchangeable, but their jesting succeeded in convincing us that they were indeed a group of close friends. There are the supernatural flourishes that we don’t usually see in these movies, but they are more of an after-effect than a key ingredient and the inclusion of trademarks like the heavy breath POV, mean this is definitely a stalk and slasher. It is an authentic one for sure, but not enough to push it outside of the category.
Whilst I certainly enjoyed School Killer and was impressed by the way it was conveyed, it shot itself in the foot somewhat with that age-old issue that plagues countless horror films. Our group of youngsters had various opportunities to escape the site and save themselves or get help, but the more that they bizarrely chose not to, the sillier the whole thing began to look. Whilst the script did try to rationalise their peculiar indecision, each explanation became more and more farcical and it had a huge effect on the credibility of the story. For example, the troupe learn early on that the tyres on their car have been slashed, which would make the average everyday Joe start sprinting until their legs buckled from exhaustion. These nitwits however decide to return back inside the complex and wait around until it’s their turn to get butchered. I am hesitant to call this lazy scripting, but it certainly should have been handled more creatively. I also felt that the film would have played better with a more suitable score, but it’s impossible to say whether this was down to a small-ish budget.
There’s a lot about School Killer that I really liked. It’s suspenseful, creepy and original, with a few Kevin Williamson-alike referential quips from the cast (Including a mention of Scream 3 funnily enough). We get a couple of hot chicas, an extremely convincing head-lopping and a downright creepy atmosphere. There’s just something that holds it back from touching on greatness, even if, it’s hard to ascertain exactly what that is. I guess that the film is best summed up by its conclusion, which is bold and ambitious but somewhat inadequately executed.
Bloody Moon 1981
Directed by: Jesus Franco
Starring: Olivia Pascal, Christopher Moosbrugger, Nadja Gerganoff
Review by Luisito Joaquín González
I always believed that the Máximo Espejo character in the brilliant romantic comedy, ¡Átame! (1989) was based on Jesús Franco. That film’s director, Pedro Almodovar, also used scenes from Bloody Moon in another of his Antonio Banderas led pictures, Matador from 1986. Does this mean that Almodovar is a fan of his fellow countryman’s work? It’s hard to say, but the amount of sleaze in Franco’s 180+ filmography makes it easy to overlook the fact that he could be a capable filmmaker when he put his mind to it.
After the success of Halloween, a German production team approached Franco to help them put together an entry strong enough to grab a share of the hottest cinema craze. Bloody Moon went on thereafter to become something of a grindhouse classic in cult circles. This was mainly due to its whacky dialogue, explicit gore and extreme nudity. After being released uncut pre-cert on VHS in the United Kingdom, it went on to join the DPP list and become a video nasty, which added to its notoriety. Much like I had done with Juan Simón’s Pieces, I wanted to go back and view it with an open mind to see what I made of it.
A group of German students head to a language school in Spain to brush up on their Español and catch a bit of sun. It becomes apparent that they are sharing the location with a disfigured murderer who has just been released from the local asylum. Girls soon begin disappearing, so could it be that Miguel has not been fully cured?
Checking out Bloody Moon after all these years, I found that I appreciated it much more than I did a decade ago when I wrote the review that you can find here. This time around, I watched it in Spanish and the dialogue is not as hilarious as the, “I love your tenderness” and “let yourself melt in my arms” slop that we got in English language prints, which helps to make it a bit less comical. Juan Soler utilises a bright palate of cinematography that brings the screen alive, but he does overuse the zoom effect too much. Screenwriter Erich Tomek pinches a lot from Halloween, including the isolation of the final girl in her knowledge that there’s a psychopath on campus. In that role, Olivia Pascal screams her way through each new scenario with a subtle vulnerability and we do genuinely want her to survive.
The mystery is clumsy in the amount of early information that it gives us, but there are still a few surprises to be had as it unravels. Franco includes a couple of tense sequences, like the claustrophobic finale, which sees Pascal’s character uncover the corpses of her chums spread around her apartment. Juan Molina’s gore effects haven’t aged well, because nowadays, we can see similar levels of goo in most DTV efforts. Still, there’s something quite unsettling about watching a young kid get mowed down by an automobile (no, really) and the famous buzzsaw murder of a promiscuous chick hasn’t lost any of it’s pitch black humour. After letting herself be tied to a table, the aforementioned bimbo quips that she’s up for anything with what she believes is a hunky Latin lover. It’s funny, because she’s expecting to get drilled (if you know what I mean) and instead, she ends up getting sawed and TOTALLY screwed!
I wrote in my notes that some elements of the extraordinary soundtrack were almost Pink Floyd-like and then I read that Franco had falsely been promised some authentic music from that band by his producers before signing on. No wonder that he later stated that he had countless problems with them and that may explain some of the outright weirdness that we come across in the story. I mean, if there were two opposing visions working on the project, then who knows what came from where.
Going back after all this time, I’m still not convinced that Bloody Moon is much more than a cheese-sleaze slice of trash. It’s enjoyable trash though, which I guess is most important. It’s a film that I feel often gets overlooked, because with the hottest collection of chicas that I can remember, some fun gore and more moments of WTF than you can shake a stick at, it deserves a lot more recognition than it currently boasts.
Bloody Moon is gleefully bad enough to be enjoyed and although it hasn’t aged as well as others, it’s still well worth re-checking.
Killer Guise: √√
Final Girl: √√√√
The Icebox Murders 1982
Directed by: Francisco Rodríguez Gordillo
Starring: Jack Taylor, Mira Miller, Manuela Jiménez
Review by Luisito Joaquín González
A lot of people assume that the slasher boom of the early eighties was mainly populated by the American and Canadian movie industries. Although in terms of major investment and quality of output they’re right, some of the craziest examples of low budget fun were also found in the most unlikely of places. ‘The slasher plague’ was a global cinematic epidemic and if you search hard enough, then you get to uncover titles such as Fen Ku Lou that were really unique and interesting.
Spain’s contribution to the genre is often overlooked, even though we were equally responsible for our fair share of output. The first offering to grace the category from España was Jesus Franco’s Bloody Moon, which found notoriety after achieving the cult status in the United Kingdom of joining the infamous ‘video nasty’ list. Hot on the heels of Franco’s effort was the equally bloody Pieces and the decade closed with Jose Larraz’s fairly decent slasher/mystery, Edge of the Axe. However, there was a film from that ever so fruitful period that slipped by completely unnoticed by completists and critics alike, which was called, El Cepo or The Icebox Murders.
It originally secured a small release on the long defunct Mogul label, which also gave life to slashers Satan’s Blade and Lucifer aka Goodnight Godbless. It never found an audience outside its country of origin and like so many of its less fortunate cousins from around that time, it soon vanished from existence. Eventually it became one of those rare gems that sell for big bucks to die hard collectors on Internet video-search agencies and eBay, due to their impossible to locate status.
Admittedly, the fact that it had become so obscure only helped to evoke my curiosities about the picture and an impressive and intriguing title also led me to begin a mission to track down a copy. After months of hearing absolutely nothing, finally, I stumbled across a VHS on show in a charity shop window (!) and simply couldn’t believe my luck. I picked it up and immediately headed home. On the way, I gazed longingly at the cover and hoped to discover if my patience could be rewarded with the bonus that I’d found an all but forgotten slasher masterpiece.
They say that when a film disappears, it’s never without good reason and they’re usually right with that assumption. But this time I kept my opinions open, because every now and then I’ve uncovered a rarity that’s turned out to be a whole lot more than I ever expected. The audacious cover artwork and blurb that offered so much only heightened my spirits, so I slipped the cassette into my much-overused VCR and cracked open a chilled bottle of Smirnoff for the journey.
Despite the fact this was a Spanish production, the movie’s actually set in Paris, France. It kicks off with a girl running down a dimly lighted corridor. She’s fleeing a slow stalking camera shy maniac, who eventually catches her and puts his hands around her throat. She screams and then the shot ends. Cut to a news report, which helpfully informs us that she’s the sixth woman to be butchered by this unseen menace and it looks as if he has a taste for slashing beautiful young ladies and leaving their corpses in public places.
Next up we meet a prostitute called Chantelle who boasts that she’s found a goldmine in a man who buys her presents without wanting anything in return. If this generous gent (played by cult favourite Jack Taylor no less) isn’t an over-zealous advertisement for a could-be psychotic killer, then I don’t know what on earth is. He walks with a cane and his dress sense amounts to a pitch-black suit with dark glasses. This makes him look like a peculiar cross between a secret service agent and an especially morbid undertaker. The hooker pops round to his apartment and he informs her that he doesn’t like the way she dresses so provocatively. He tells her that she should give up that ‘ridiculous profession’ and he wants to whisk her away somewhere and ‘help regain her youth’ (Awesome chat-up line!). She agrees to the vacation as long as she can bring her friend Sylvia along. That night, Sylvia has a dream that ‘the undertaker’ has some murderous ambitions up his sleeve and the next day she remains wary of his true intentions. Soon we learn that he isn’t actually a grave-filler or secret agent by trade, but he’s actually a doctor – unfortunately.
They arrive at a mansion that’s conveniently secluded miles from civilisation and we meet another suspicious character that shares the spacious abode. John the twitchy caretaker takes an interest in the young ladies’ appearance, but is warned off by the solemn doctor, who beats him with the aforementioned cane. The peaceful serenity gets a bit depressing for the spirited girls and they head out to the local discotheque, where we meet yet another possible suspect – a smooth talking local that tries to engage in flirtatious conversation with the moody Sylvia. When they return later that night, she sees two silhouettes carrying a suspicious shape into the icebox. Could it have been a dead body? Do fish swim in the sea? Not a lot happens from here on out, it’s mostly just a whole heap of talking, which is painfully dragged out and mind-numbingly boring.
Eventually things liven up a little, when poor old John gets gunned down by an unseen sniper and Sylvie spies ‘someone’ with a decapitated head in his tool shed. Of course no one believes what she saw, and on inspection, it mysteriously disappears. Some time later, Chantelle discovers a collection of human trophies in a cleverly concealed cupboard. This results in the killer having to reveal himself and the traditional fight for survival ensues…
Right that’s it. Finally I’ve learned my lesson. Never again will I be enticed by a movie that has (rightly) been banished from wise-minded collections, thinking that it was just an unfortunate twist of fate. The Icebox Murders is as rancid as a geriatric sewer rat – and just as stinky! Even the title and the tag-lines are outright lies to trick unsuspecting victims (such as myself) into believing this could be an impressive premise for a slasher flick. The cover says that a maniac murders women and stores their bodies in a freezer. Total BS!! There’s just two on-screen killings in the whole film and the only corpse that’s found in the said icebox belongs to an animal – no fair! This isn’t even really a slasher flick, seeing how the second murder is committed with a gun, so I urge all genre collectors not to bother adding this one to your collection. There’s truly nothing here that would warrant even the most adamant fan to hunt it down, no matter how much you want to own every genre piece that was ever transferred to cheap videotape.
Let’s get this straight, now. This isn’t just a painfully long and irritating epic of nonsensical dribble with the oomph of a squished slug. Oh no, it’s flawed in just about every respect that a motion picture possibly can be. It looks to have been edited by someone using a seven year old’s ‘my first stationary’ kit, the theme-music plays randomly, with no apparent acknowledgement of the scene it’s accompanying and it boasts the directorial flair of gibbon holding an iPhone. By far the worst aspect of this monstrosity is the abysmal quality of the acting, which is best described as the dramatic equivalent of a Desperate Housewives blooper real. – Yes it is that bad. They could have packed the whole story in about twenty-five minutes of screen-time, which probably would have made a fairly watchable short. But instead it drags on – like a two-legged camel – for an hour and a half, as we watch a pair of marginally interesting females continually express their distaste at being cooped up in a mansion that they could have left whenever they felt the need to. Sadly, they were too dumb to work that out, so we have to look on as they (slowly) come to the conclusion that they’re heading for a slashing if they hang around the cane-clenching weirdo for much longer.
In fairness, it’s actually meant to be more of a character study or a slow paced Giallo and I guess it’s not really the fault of the film-makers that Mogul packaged it as a piece of slasher trash. It’s Spanish title is El Cepo or ‘The Trap’, so who knows where the ‘The Icebox Murders’ came from? It was, most likely an ambitious marketing ploy from the distributor and an attempt to give the film more of an allure aimed towards the stalk and slash audience. In my review of The Ghostkeeper, I mentioned that the UK box art had absolutely *nothing* to do with the film inside and Mogul have done a similar thing here. They’ve taken everything that would appeal to the slasher genre and put it on the cover of a title that’s basically the equivalent of a boring and poorly produced TV movie. Even the music sucks. Another interesting thing is that I saw a VHS copy of this for sale on Amazon for $180 and a couple of days later it was gone. $180 for this is really quite an amazing price. If it’s become a collectors item, then maybe it makes sense, but if it was bought by someone hoping to find a forgotten splatter classic. Well, I would pay to see their reaction when the final credits rolled. It would have been a darn site more dramatic than anything that happened here.
As I’ve already said, this is not much of a slasher movie, which begs the question, why did I post a review of it? Well due to the aforementioned misguided marketing, chances are most collectors have already come across it or will do soon. I wanted to stop you from making the mistake that I and am sure many others did. Little remains to be said, except steer well clear of this misinterpreted, misguided and mis-advertised waste of a production budget. There’s really only very little to be salvaged from this sabotaged slasher, unless you enjoy watching how terrible Spanish fashion sense was in the early eighties. I was born and lived there back then, so I could smirk, but I doubt that any of you will. Especially not for $180…
I cannot warn you harshly enough about the dangers of mis-judging what lurks within the cover of The Icebox Murders. It’s as unforgiving as an ex-partner that you ruthlessly dumped – and you’ll want to avoid it just the same! Be afraid… Be very afraid…
Final Girl: √
Los Ojos De Julia 2010
Directed by: Guillem Morales
Starring: Belén Rueda, Pablo Derqui, Lluis Homar
Review by Luisito Joaquín González
I had been long anticipating the release of this one, as on paper it looked like exactly my kind of flick. Shot in my home country, by a director that had received rave reviews for his thriller, The Uninvited Guest and with links to Guillermo Del Toro, it sounded like a combination of the highest quality. Spain has enjoyed glorious recognition recently for our cinematic conquests under the likes of Almodovar, but I have always felt that we have been authentic with our style of drama, even when it was confined within Spanish borders. Although I’d be wrong to say never, I must admit that there’s rarely a middle-ground with our unique methodology. It’s either Oscar worthy or very, very bad.
Of late, I don’t read reviews before seeing a film myself, because I like to have a mind completely free of pre-judgement. Whilst waiting for my DVD to arrive however I had a quick browse at a write-up that started with, ‘Spanish filmmaker Guillermo Del Toro (he’s Mexican), returns to the horror genre with his next script (he didn’t write it). Oh the joys of researching your subject! After that, I read no more. Del Toro is at the stage now that he is so successful that anything related to him builds excitement. His work is deserving of such accolades, but it could be either a good or bad thing for an up and coming director like Guillem Morales. He would have to pull out all the stops to deal with the gargantuan expectations set by that reference and he may struggle to get the recognition that he could deserve in the aftermath.
After Julia’s twin-sister Sara commits suicide in her basement, her sibling suspects that she was actually murdered. They shared a degenerative problem in their eyes, which means that at any moment, they can lose sight if put under extreme stress. The Police believe that Sara had lost the will to live when an operation failed and therefore she had to come to terms with the fact that she could never see again. Julia decides to explore her sister’s private life, because she can’t shake the belief that a more sinister force is at work. She soon begins being stalked by an unseen menace and decides to prove alone that she is right before she completely loses her vision.
Ok so let’s clear up a few home truths. This is not a slasher movie per-say; it’s a thriller that utilises elements from the genre. Morales is gleefully aware of the trappings and proves it by including obvious references, such as a heavy-breath POV shot and some typical use of shadow play. Like most Spanish films, the plot here is brought alive through strong realistic performances and the ability to place the viewer in the shoes of the protagonist. Belén Rueda is superb as the ‘final girl’ and her portrayal is honest, heartfelt, colourful and note-perfect. The film touches on a juxtaposition of emotions from cheesy romance to teeth-clenching suspense and the simple transition is all down to the pedigree of the actors.
What makes up an adept Giallo? Well for me, it’s a compelling mystery, a dose of suspense and most importantly some panache in the photography. Los Ojos de Julia ticks all those boxes and excels in its capability to generate momentum. There are some great set pieces here, including a chase sequence through a corridor that makes good use of its lighting and there’s a terrifically creepy moment in a room filled with blind people that is startling in its delivery. Morales shows the flair of a young Argento and the technical knowhow to pull it off. Seasoned veterans may work out the mystery (I did), but there’s enough red-herrings to keep you transfixed.
At 105 minutes, this is no quickie, but it makes up for its possessiveness with runtime, by keeping you on the edge of your seat. I found it easy to keep track of the characters and I enjoyed the multiple moments of tenderness that break-up the suspense. Where Ojos does struggle is with its overuse of cliché in the final third. After such a great opening, the script seems to run up blind alleys quite a bit and an intelligent heroine is reduced to the usual run upstairs instead of out of the door antics. It has the cheesiest ending that I remember for some time, but for an old romantic like me, it was totally acceptable. The lack of a humongous body count (six killings) may be a deterrent for my regular readers, but this does include enough slasher moments in its wallet so that you won’t be that disappointed. There’s a couple of macabre killings and an unwatchable scene involving a syringe and an eyeball.
Los Ojos De Julia is a stylish modern return to the Giallo with a couple of decent murders and some neat suspense. It utilises some of the best parts of Spanish drama to keep the plot rolling and chucks in some nice sequences, camera tricks and even a few scares. It’s not perfect by any means, but as good as any of the Hollywood thrillers that have been chucked out recently. If anything, take a gander for the brilliant performance from the gorgeous Belén Rueda.
Kick the slasher genre as much as you want, but this proves that there’s still life in the old dog yet.
Final Girl: √√√√√
aka The Secret Killer, Gatti Rossi in un Labirinto di Vetro, El Ojo en la Oscuridad
Directed by: Umberto Lenzi
Starring: John Richardson, José María Blanco, Andrés Mejuto
Review by Luisito Joaquín González
Umberto Lenzi is a hard craftsman to define. His most available work outside Italy is the likes of Nightmare Beach (cheesy as hell), Cannibal Ferox (pure exploitation), Nightmare City (Bizarre) and Ghosthouse (Just plain bad). With that said though if you search harder, he has some extremely tense Gialli under his belt including the ‘Paranoias’ (two movies with the same title released within the space of 20 months, confusing I know), Knife of Ice (Stylish with subtle social comment) and Seven Bloodstained Orchids (riveting). It’s almost as if he had a lobotomy in the late seventies and could thereafter only helm trashy imitations of superior flicks. (But let’s not forget that not all of his prior stuff was ‘immense’, remember Superseven Chiama Cairo from 1965? – Ooof!) I was indeed intrigued to see which of the two Lenzis would turn up for this mid-seventies murder mystery, the talented filmmaker or the gratuitous hack… (Also forgive my overuse of brackets!)
Eyeball is Giallo through and through, but has some ingredients that allow it to be considered something of a proto-slasher. It’s also located in Barcelona in my home country and is a Spanish/Italian/American production, which means it had various cultural influences.
A group of American tourists head to Barcelona for a summer holiday. Almost as soon as they arrive the fun comes to an end as one of their number is ruthlessly murdered by a hooded killer in a red rain mac. The maniac is something of a sadist and mutilates the left eye of each victim. Could it be the mentally ill wife of one of the tourists or has someone else got a grudge against the troupe?
I am a big fan of history and there’s a story that I read about a year ago that has stuck with me. The Mary Rose was a warship in the impressive Tudor fleet of Henry VII. It served for just over thirty-three years in numerous wars, but was sunk, somewhat unexpectedly in 1545 during the Battle of Solent. For years historians believed that it was due to the evasive turns being too sharp for its unsteady structure, but Forensic examiners have recently discovered that the skeletons of crew members that were recovered hailed from southern Europe, most probably España. They were either mercenaries hired by the King, or more likely members of 600 shipwrecked sailors who had run in to a storm weeks earlier and with no food or water, had been forced in to service for England. Manning such a huge carrack-type ship in wartime would need a clear chain of command, but when Admiral George Carew was barking orders at his foreign crew, the most likely collective response was something along the lines of ‘¿Qué?’Therefore it was language barriers that sunk the great Mary Rose and that theory adds weight to Carew’s final words stating that his crew were, ‘knaves I cannot rule’.
The reason I tell you this is because it feels like a similar lack of communication was behind the production of this forgotten Giallo. Italian is definitely a more similar language to Spanish than English, but still it must be the reason why so many members of the (Spanish) crew here seemed to have no idea what they were doing. I can’t explain why else an experienced cinematographer like Antonio Millán would shoot everything so flatly? He was in one of the most beautiful cities in Spain for gawd’s sake, so why such diluted focus on the gorgeous backdrops? The majority of non-natives who visit the shores of Spain in hordes throughout the year always pick up on the incredibly laid back lifestyle. Well it must’ve been something that Umberto Lenzi rather liked, because his direction here can best be described as ‘lazy’. There are only a couple of semi-decent set-pieces and he keeps the awesome disguise for his killer off-screen for the most part.
The dialogue too is quirky and off-beat and in the next breath hilarious. Martínez, the eccentric tour guide brings up Christopher Columbus’ heritage as they drive past the ‘Monumento a Colón’ on La Rambla. He states (falsely) that Columbus was Spanish, to which one woman replies, “Spanish or Italian, it makes no difference to me. He made a terrible mistake. You don’t think America’s worth all that trouble do you?” This leads to an awesome response from the guy sitting in front of her who quips, “Oh my God! You’re not a communist, are you?” Much later after a few killings, the inspector rounds up the survivors for interrogation and asks one lady who may be a witness, “Did you recognise him?” She says, “I didn’t see.” “It was dark in those bushes, don’t forget I’m not a night fighter you know” (What?!!!)
I may be sounding like Eyeball is totally rubbish, but it’s actually somewhat ahead of its time. It’s a cheesy slasher before cheesy slashers were invented and it’s a whole lot of fun. It’s nicely paced, with a fairly large body count and the mystery is intriguing even if the motive, once revealed, is astoundingly silly. The killer in a crimson rain coat and the final girl make this feel more like an American slasher than an archetypal Giallo and it doesn’t seem too dated at all. There’s a tad of nudity and two lesbians to check list the exploitation and I remember even at least one scene that builds decent suspense. What is most memorable about this is the pounding score from Bruno Nicolai, which will stay in your head for hours after the credits have rolled. You also get a bit of gore even if it is rather anaemic compared to the same director’s later stuff.
This is by no means classy Lenzi, but it’s still an entertaining mix of comedic dialogue, bloody killings and a campy motive. I don’t know if it was truly one that can be credited as inspiration for Halloween and the like, but for a great cheesy treat it’s thoroughly recommended
Final Girl: √
Mil Gritos Tiene La Noche 1982
Director Juan Piquer Simón
Starring, Christopher George, Ian Sera, Lynda Day George, FrankBraña
Review by Luisito Joaquín González
I must admit, it’s been cool being Spanish lately. What with the immensely popular and equally as successful Rafael Nadal tearing up tennis and La Furia Roja wining the European and then World Cup whilst playing the best football imaginable, it has to be said that from a patriotic standpoint, all is going well for my country.
The thing is, when we look at slasher movies, our output leaves me pretty much lost for words when it comes to banter. It makes it harder when I notice that despite a few stabs, this is the most recognised (but not the best) effort of my country’s involvement in the cycle. Just a quick browse through the reviews here online and as of yet, I haven’t seen one that mentions any credibility.
So I took it upon myself to start preparing my defensive arguments. A legend of Spain from Simón’s era is singer/poet Joan Manuel Serrat. His most renowned LP was Mediterraneo, which got him expelled from fascist Spain for its intelligent subtle lyrics and views on the struggle of Spaniards under El Generalissimo, Francisco Franco. A fine example is the track, Barquito de Papel (small boat of paper). On first impression, it seems quite harmless and even my brother still likes to look at it as a song about a young boy, at a time when money in villages was invisible, floating the aforementioned barquito down a local stream (something he used to do.). But lines like, “Without a boss, without a direction it travels wear it wants to” were a shrewd dig at the struggles of our people under fascism and the truth was in the subliminal messages.
What if Mil Gritos Tiene La Noche was made under a similar pretense? What if Simón’s slasher was really a social comment on our obsession with image? Maybe he was hinting that you can’t build the perfect person and that we should all accept that everyone has pluses and minuses and we could get lost in the search forever? Or maybe the chainsaw wielding maniac was our lust for credit and the message was that we are starting to dismember our economy (just look at how we stand at the moment)? Ok so I’m reaching…
In the end I decided to try a different trick. I returned home and told my flatmate, a film (but not slasher) fan, who generally trusts my judgment that Simón’s effort had a 7.5 rating on IMDB and was an intelligent psycho thriller. I wanted to see if the movie’s reputation had led it down a path of poor reviews because people had read so much rubbish about it that they went in looking exactly for that. Media opinion can have a big sway on our considered expectations.
A masked maniac is stalking a college campus and murdering co-eds, leaving them with missing body parts. Armed with a chainsaw, the police are baffled as to his identity and bring in extra help to solve the case.
One thing that critics never acknowledge is that this is in fact a tribute (dare I say rip-off) of Narciso Serrador’s La Residencia. It probably had a big effect on Simón when he was younger and the influences are undeniable. The film was shot in both Boston and Madrid with producers from Italy, Spain, England and America. As far as I am aware cast members like Frank Braña, Gérard Tichy and Silvia Gambino could not speak English, so you can imagine some of the on-set confusion.
Admittedly there are some great inadvertently humorous moments that I can’t provide an excuse for. The best of these is when a Bruce Lee lookalike violently attacks an undercover Police officer and then the pair laugh it off as it’s all down to ‘…Some bad chop suey’. This was actually intentional as the actor was from a Kung Fu movie that Dick Randall was working on at the time and Simón wrote the scene on the spot to include him in a cameo. Oh and I can’t forget to mention when the Lieutenant tells his colleague to, ‘take some uppers’ to stay awake and help with the case. Also, what about when one goofy big-breasted floozy spouts, “The most beautiful thing in the world is smoking pot and f***ing on a waterbed at the same time” – Or the Footloose-esque boogie scene, which sees a bunch of leotard clad eighties bunnies twisting and dancing and seems to have been choreographed by Stevie Wonder but offers absolutely *nothing* to the story? I could go on, but I’ll save some moments for you to uncover for yourself.
Now inept Police forces in slasher movies are as essential as a twisted killer, but Christopher George and Frank Braña manage to take things to a whole new level. I may not be a master detective, but I would say that anyone who has been found in the vicinity of a gruesome chainsaw killing more than once and has no solid reasoning as to him being that close would probably be considered at least a ‘considerable suspect’. Well these bozos let college student Kendall (Ian Sera) work alongside them throughout the runtime and he even finds the clue that cracks the case! .
Credit has to be given to Basilio Cortijo for his brilliant gore effects, which are very well done. The film is one of the goriest of the period and for that alone it is well worth a look. It also never gets boring and has become a classic Grindhouse/drive-in favorite with a strong and loyal following. You definitely can’t knock the director for his effort and if you watch it with an open mind, some of the murder scenes are effective if not creepy. Also, many critics pick up on this perhaps unfairly, but the girl smashing through a mirror at the beginning DOES have something to do with the plot. It is meant to signify the return of the murderer’s psychosis (it was launched by a smashed mirror in the opening). It’s not handled in the best way, but that was the point that they were attempting to get across. I just actually got an update from one of the cast and apparently a lot of scenes were shot that didn’t make the final print. Reportedly, one of those was the aftermath of the aforementioned mirror scene where the girl says that she’s ok and the maniac is shown lurking nearby. In fact it is that same bunny that gets her head lopped off immediately after. All this got me thinking that maybe Simon’s film would have made more sense with everything included. Who knows what else was left on the cutting room floor? There was definitely a few gore scenes that were not featured, so who knows?
Ok so I have tried to give a different perspective and can openly admit that there is a lot to laugh at with the production of this feature, but then there were with most slashers of the early eighties that were not European produced (Graduation Day, Fatal Games et al). My flatmate actually really enjoyed it (partly because she thought she was cool by working out the killer’s identity – by his shoes!) and she gave it the thumbs up (admitting however that it’s not scary).
Mil Gritos does deserve a place in the annuals of slasher history and kudos to Simón who said he never cared what the critics said; he just really enjoyed making these movies. It may not have got the reviews that he initially intended, but I loved watching it all the same. You need to see it for the breathtaking scene when Lynda Day George summons every bit of her minimal acting ability to scream, ‘Barstard, Baaarstaaard….BAAARRRSTAAARD! It’s up their with the napalm scene from Apocalypse Now and the opening of The Godfather. Brilliant. Absolutely brilliant. Just as the advert said, it’s exactly what you think it is…
Killer Guise: √√
Final Girl √√