Writing about movies, monsters, cinematic events and other wild trips
She’s alive and she’s stunning! A new book about a legendary film, edited by me and written by others. And she could be yours, if you head to PS Publishing and order a copy. Also available from all the usual outlets.
Who would’ve thunk that this wee book, BRIDE OF FRANKENSTEIN – the product of many talented film writers – has just been nominated for a 2024 Rondo Hatton Classic Horror Award for Book of the Year (non-fiction)! Huzzah!
I could think of no better fit than this award, so thanks to whoever it was who put BRIDE OF FRANKENSTEIN forward for nomination.
Given this is a popular vote, feel free to use yours where it counts, either by voting for BRIDE OF FRANKENSTEIN, edited by Emma Westwood, another book or for as many other categories or nominees you care to support.
HOW TO VOTE
Voting is by email only. You can just type your picks into an email.
>>Send the email to David Colton at taraco@aol.com not later than Tuesday night at midnight, April 16.
— One vote per person, please. Every email must include your name to be counted. All votes are kept strictly confidential. No emails nor personal information will ever be shared with anyone. And no, you do NOT have to vote in every category. Vote for one, all, or a few.
PS. if you’re not familiar with Rondo Hatton the Man, here’s some more info (and a glorious mug you’ll never forget): https://en.wikipedia.org/wiki/Rondo_Hatton
Saturday 3rd February is the day when you lucky folks get the chance to see one of the most misunderstood films of the 20th century, SECONDS (1966), on the gigantic Astor Theatre screen to kick-off Cinemaniacs‘ 2024 program.
IT WILL BE AND LOOK AMAZING!
Watch the trailer below for a taste of this forthcoming spectacle, then click on the link for tickets. I’m doing the intro and I’m proud to say I literally wrote the book on the film with my writing partner-in-crime, Jez Conolly.
I didn’t anticipate watching enough in the way of new release cinema to create a Top 10 for 2023 but, as it turns out, my list magically manifested. And here it is, with films listed in no particular order:
LATE NIGHT WITH THE DEVIL (dirs. Colin Cairnes & Cameron Cairnes)
2023 marks the ‘Year of the Australian horror renaissance’ with this one leading the charge – a highly original take on the genre as seen through a 1970’s US late-night variety show lens. Features a transformative performance by David Dastmalchian from his previous creepoid roles to all-American TV show host. Pitch perfect in every way.
TRIANGLE OF SADNESS (dir. Ruben Ostlund)
Officially a 2022 release, but a repeat watch for me as part of its theatrical run at the start of the year. Simultaneously gross, terrifying and so very funny (because it’s true). The most astute and penetrating socio-political commentary in recent memory. Machiavelli would be proud.
TÁR (dir. Todd Field)
A singular and fascinating film, despite its flaws and Cate Blanchett’s overacting (and over-conducting). I came out with many reservations but, to its credit, it’s lingered with me across the year. Full marks. Also, full of conversations and exchanges that held me transfixed despite its lengthy running time.
POOR THINGS (dir. Yorgos Lanthimos)
Everything that makes the cinema of Yorgos Lanthimos so scintillating – weirdness, uncomfortable sex, magical realities, astute gender observations, etc. Throw in some Frankenstein, Dr Jekyll & Mr Hyde and Island of Dr Moreau themes and this recipe could have been custom-cooked for the likes of me.
TALK TO ME (dirs. Danny Philippou & Michael Philippou)
Another Australian-brother-director-duo-horror-bonanza. High-octane, visceral take on the ‘teen shenanigans gone wrong’ genre trope, tightly realised in an Australian setting with solid performances. Notable for its strength across first, second and third acts, especially the third where horror films so often unravel.
THE KILLER (dir. David Fincher)
A satisfying propagation of Fincher’s admirable career in thrillers that doesn’t over-reach – right up there with ZODIAC (2007) and THE GAME (1997), inching close to SE7EN (1995). See it for Michael Fassbender’s super-solid central performance, opening ‘How Soon Is Now’ sequence and a string of TV-character aliases.
PAST LIVES (dir. Celine Song)
Just when you thought I only like brutality on screen, enter Celine’s Song ode to unrequited love. A film that holds you by the heartstrings from start to finish, riveting while hardly doing a thing. Mines the depth of romantic attachment in a deep and extremely affecting way.
ALL OF US STRANGERS (dir. Andrew Haigh)
The second of the sloppy sentimental pics on my list this year. An unexpected queer ghost story of the sad and sorry, rather than ghoulish, kind. Initial thoughts: too devastating to see again. But now I’m ready to dive back in and unpick its tapestry of timelines and realities. Stunning.
FEMME (dirs. Sam H. Freeman & Ng Choon Ping)
Another queer stunner – this time, in the form of a gay-bashing-revenge film where the revenge act takes an unpredictable shape. Not necessarily an uplifting viewing experience but a taut, nail-biting one that doesn’t let up until its devastating conclusion.
THE ROYAL HOTEL (dir. Kitty Green)
Draw a line from WAKE IN FRIGHT (1971) through SHAME (1987) to this film. A searing depiction of toxic masculinity in outback ‘Orstraya’ that recalls another Kitty Green classic, THE ASSISTANT (2019). Double screen it with the documentary that inspired its making, HOTEL COOLGARDIE (2016).
FATAL ATTRACTION is one of the biggest psychological thrillers of the 1980s, a film that divided opinion at the time of its release, and continues to reveal its hand in the decades proceeding it.
I’m the lucky one who’ll be contextualising it for the audience in a late addition to the Cinemaniacs program for 2023, at ACMI on Saturday 11th November.
The story goes like this:
Dan Gallagher (Michael Douglas) is a happily married man and high-flying lawyer living the dream in New York City. When his wife, Beth (Anne Archer), and their young daughter, Ellen (Ellen Latzen), head to the country for a break, Dan succumbs to the sexual charms of work colleague, Alex (Glenn Close). The weekend ends, and so does the fling – for Dan. Alex, on the other hand, sees this as the start of something else.
This film not only took the box office by storm; it spawned a host of rip-offs, was nominated for six Academy Awards, introduced the term ‘bunny boiler’ into our lexicon and had a generation of men quaking in boots. Hell hath no fury like a woman scorned!
I can’t wait to put this film under the microscope… without spoiling (both) its ending(s).
On 26th August 2023, Cinemaniacs launched our new book on James Whale’s classic BRIDE OF FRANKENSTEIN at ACMI in Melbourne, Australia.
This GLORIOUS event (emphasis intended) featured an introduction by the editor (me); followed by a screening of the film itself, BRIDE OF FRANKENSTEIN (1935); then a ‘meet the authors’ panel with Dr Eloise Ross, Stephen A. Russell, Dr Andrew Nette and Cerise Howard; followed by another screening from the Universal Monster Movie canon, FRANKENSTEIN MEETS THE WOLF MAN (1943).
Somewhere amongst it all, we managed to sell all our books, give away custom-made fragrances, distribute a number of movie-related raffle prizes and – the cherry on top – be welcomed by Sara Karloff, daughter of Boris Karloff, in a special video greeting recorded especially for the night.
For me, most thrillingly of all was the electricity in the cinema – a full house, nonetheless – with everyone there to celebrate a film as old as the hills; proof that the power of a masterpiece never fades.
Here it is immortalised in pictures:
It’s not often that the words ‘beautiful’ and ‘gorgeous’ are associated with the Australian ‘classic’ HOUSEBOAT HORROR but, by golly by gosh, this blu-ray release of the film by Umbrella Entertainment is a work of art in itself.
I was asked to contribute a biography on the film’s co-creator, Ollie Martin, to the booklet, and I can confidently say this is a one-of-a-kind piece, presenting information about Ollie that is not widely available in this digital age. I’d like to thank Gavin Wood, Ray Boseley, Clayton Jacobson and Ollie’s family, Elle and Boyd, for feeding me with the information that has brought this story to life. I really hope that Ollie is smiling down on us from the heavens.
Take note that this is a limited edition release of HOUSEBOAT HORROR, so get your skates on, if you want to bag a copy. It may already be gone. For my international friends, I urge you to jump on this opportunity to snag yourself a little bit of Australian film memorabilia that’s sure to leave you slack-jawed.
PS. It’s worth the purchase for the ‘Banned in Queensland’ pin alone.
In recording the audio commentary for 1934’s SEARCH FOR BEAUTY with Lee Gambin, I’m pleased to have achieved another first: the oldest film I’ve had the pleasure to reanimate on Blu-ray. And it certainly served us with lashings of fodder to discuss – from overt sexual ogling (from the women!) to bare behinds, a barely legal Ida Lupino, ample lashings of queerness and even fascist regalia!
Get your copy directly from Kino Lorber (or from Cinemaniacs, if you’re in Australia) and get to hear how this pre-code film reflected the momentum of the modern fitness movement, ‘the body beautiful’, and why Buster Crabbe’s ‘pecs’ were hot box office property.
This one took awhile to wing its way to Australia, but I’m pleased to have now seen the final edit of my first visual essay about monsters – and breathe a sigh of relief (it came up quite well).
Anyone who has read my Top 8 horror films of 2022 will note that TAKE BACK THE NIGHT made the grade, so it’s extra thrilling to have contributed to this release from Arrow Films, produced by the always astounding Alexandra Heller-Nicholas.
Should you see it too? Yes, you should.
It’s 2023. But I’m taking a last gasp of 2022 with my ‘best of’ list, albeit one that focuses solely on horror. Why just horror? It kinda defined my new release viewing across the year, so it made sense for me to keep things narrow.
Let’s get on with it (in alphabetical order):
BARBARIAN (dir. Zach Cregger, USA)
I walked into the cinema not expecting much; I walked away mighty impress. A well-worn horror scenario assembled with enlightening reinvention, full of red herrings and hidden corridors. Eschews ‘elevated’ wankdom (although with today’s obligatory #metoo message) to get back to horror basics. And it stars Justin Long.
THE BLACK PHONE (dir. Scott Derrickson, USA)
The best Stephen King film of the year, not written by Stephen King. Cleverly uses its 1978 setting to create a kids-own world of bullying, domestic violence and the threat of something else: a balloon-carrying man with a van. The incorporation of supernatural elements was a surprise but one used to chilling effect, as was the constantly masked Ethan Hawke in the role of ‘The Grabber’.
FRESH (dir. Mimi Cave, USA)
A hootenanny of a watch from start to (slightly wonky) finish. In many ways, the less said the better, because this only really reveals its hand about 30 minutes in, along with the opening titles. Anyone who’s experienced online dating will get a kick out of its tongue-in-cheek, cynical ‘dissection’ of this new world of consumerism.
MEN (dir. Alex Garland, UK)
It’s one of those hate it or love it films, and I’m pleased to say I fall into the latter camp. One of my most enjoyable cinema-going adventures of the year (and one I did three times) that continues to provide oodles of conversation and conjecture, as well as a Cronenbergundian finale that outdid Cronenberg’s 2022 output.
THE NORTHMAN (dir. Robert Eggers, US, China, UK)
Okay, it’s not strictly a horror genre film, but there’s an argument that every Eggers is horror of some form, so I’m going with that argument. Also, there’s something so entirely ridiculous and overblown about this film that it could possibly have inched into my ‘worst of’ list, but nah. Our Nic is at her ice princess best.
THE STRANGER (dir. Thomas M. Wright, Australia)
Wright established a ‘tone’ with his previous feature, the under-seen ACUTE MISFORTUNE (2018), which he propagates to magnificent effect here. A taut, quietly malevolent pot-boiler that gets under the skin, and worse – gets into your brain. I can’t wait to see what Wright does next.
TAKE BACK THE NIGHT (dir. Gia Elliot, USA)
Another horror for the #metoo generation. Could have been trite but this low-budget stunner makes the most of its limitations to create a truly effective monster movie and, dare I say it, a truly effective CGI monster. Perfect example of the how good storytelling trumps all else. All hail Emma Fitzpatrick.
YOU WON’T BE ALONE (dir. Goran Stolevski, Australia, UK, Serbia)
Gritty, visceral, guttural, muscular, icky…. choose your adjectives, because there’s a lot that can be applied to this film. A searing tribute to the power of femininity that genuinely deserves to be described as unique. Told almost entirely in close-ups and with a harsh, whispered narration in Macedonia. Stunning.
AN HONOURABLE MENTION GOES TO…
TOP GUN: MAVERICK (dir. Joseph Kosinski, USA)
It’s not a horror film but it’s a ripper and deserves to be on every ‘best of’ list for 2022.
EMMA WESTWOOD 