Monthly Archives: February 2019
Monthly Archives: February 2019
Director: Xavier Burgin
Starring : Keith David, Ken Foree, Dr. Robin R Means Coleman, Tananarive Due, Ashlee Blackwell, Tony Todd, Rusty Cundieff, Ernest R. Dickerson, Rachel True, Paula Jai Parker
Run Time: 83mins
Black horror currently seems to be having a moment which is due primarily to the sterling critical and commercial success of “Get Out” which has opened many doors for black horror filmmakers. Of course, as any dedicated horror fan would know the story of black horror cinema is much bigger than “Get Out.” The rest of the story is what this excellent documentary sets out to illuminate.
Shudder’s first original documentary does, however, start with “Get Out” (whose director Jordan Peele is a contributor on this film) briefly discussing its impact before circling back to the early days of cinema starting with “Birth of a Nation.” That movie may seem like an odd starting point for a horror documentary, but as is succinctly put by the various talking head such as Dr. Robin R Means Coleman, whose book the documentary is based on, it feels like a horror movie to a black audience. Not only that it set a template for years to come in how black characters were portrayed not just in horror but in Hollywood movies generally.
Unsurprisingly, the negative stereotypes and clichés around black characters is a large part of the discussion here be it the evil voodoo priestess or the sassy best friend or the sacrificial black person who is only there to sacrifice their lives for the lead white character, etc. All these roles are cleverly picked apart and deconstructed by academics like the aforementioned Dr. Coleman, Tananarive Due, and Ashlee Blackwell. Each of whom also gives great insight into these topics as well as informatively providing the social context that they arose out of it.
As is highlighted social context is, of course, critical here. A case in point is “Night of the Living Dead” (1968) as while the fact the film had a black lead was always going to be explosive at the time of release, it was particularly so due to coming out as it did in the same year as the assassination of Martin Luther King.
Please do not get the wrong impression though dear reader this documentary is neither heavy nor is it dryly academic; it is instead a celebration of black horror cinema. It is also very entertaining featuring interviews with a variety of filmmakers, writers, and actors. Formally the film is quite simple interspersing as it does talking head interviews with clips from a variety of horror movies. There is quite a fun conceit though as the interviews, for the most part, take place in a cinema with the stars watching some of the movie discussed. Some of the contributors are also paired up lending a natural conversational feel to proceedings. This format also leads to some of the most entertaining and revealing moments such as “Blacula” director William Crain discussing his creative battles on that film with twitchy execs with “Tales from the Hood” actress Paula Jai Parker. Also, the banter between Ken Foree (“Dawn of the Dead”) and Keith David (“The Thing”) is priceless.
Whether you are a casual horror fan or a dedicated horror obsessive, you will almost certainly learn something new here as well as pick up some film recommendations. It was indeed good to see underrated classics like “Ganga & Hess” being highlighted. Even if some spotlighted where over-praised, e.g. “Bones” most were given the props they deserve while also being aware of their flaws, e.g. many of the Blaxploitation films. Either way you will want to stick on one of the featured movies after you have watched this.
Overall: A highly watchable and informative documentary which is essential viewing for anyone who cares about the history of horror.
You can watch Horror Noire: A History of Black Horror on Shudder here
Director: Dan Gilroy
Starring: Jake Gyllenhaal, Rene Russo, Zawe Ashton, Toni Collette John Malkovich
Run Time: 113mins
Horror has seen it all killer cars, dogs, mirrors you name it but killer paintings? That might be a new one (although it probably has been done) and it would be about the only new thing in this sophomore effort from “Nightcrawler” director Dan Gilroy. Not to say there is not much to enjoy here as the feature is a campy delight but just to say there are clichés and stereotypes abound.
Certainly, anyone expecting the same razor-sharp satire displayed in the Jake Gyllenhaal-starring “Nightcrawler” will be sorely disappointed. As where that film cleverly satirised the world of the paparazzi and asked intelligent questions about the role, this movie takes obvious pot shots at the commercial art world. A world ripe for satire indeed but given it has been so heavily satirised before it is hard to say anything new and so many of the gags here feel tired. For example, a bit where an art dealer mistakes a pile of garbage bags in an art studio as an artwork seems particularly hack. There are more bits like this, and you may feel they lack the any of the same bite shown in the likes of last year’s “The Square.”
The characters seem similarly one-note a revolving line-up of bitchy, pretentious and shallow art dealers, artists and critics. However, some of these characters are still entertaining given the relish they are played by some of the cast. In particular, Jake Gyllenhaal’s who camps it up to 11 as flamboyantly vicious art critic Morf Vandewalt. Yes, once again the effete razor-tongued art critic is a well-worn trope but Gyllenhaal’s wild-eyed bug-eyed performance brings the character especially the more the movie wears on, and Morf’s sanity starts to fray. Gyllenhaal is not the only one having a ball though as both Toni Colette and Rene Russo bring a similar devilish glee to their respective roles as conniving art dealer Gretchen and ruthless gallery owner Rhodora.
What of these killer paintings then, you may ask? Ah yes as this piece is not only an art satire but a supernatural horror centring on a series of paintings by unknown artist discovered by Josephina (Zawe Ashton), who so happens to work for Rhodora after the artist died in her apartment block. After this bad things start happening to all those who try to profit from them. The horror element, like the satire element, is not as clever as it thinks it is. Also for a movie that is aiming for something arty it’s funny it is not above using a classic cat based fake-out jump scare. On the flip side, some of the deaths are well staged, and there are moments of surreal horror flourishes that really land such when one character ends up turning into graffiti.
In the end “Velvet Buzzsaw” is probably best summed up by itself when Morf manically describes his theory of the cursed paintings to Rhodora and she pithily replies; “A bit baroque, isn’t it?” Indeed.
Overall: If you are looking for intelligent horror, a truly scathing satire or a thought-provoking critique on art vs. commerce look elsewhere, but if you want some campy fun on a Friday night this movie could be just the thing.