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Posts Tagged ‘Bernard Rose’

Samurai Marathon

Monday, January 25th, 2021

There’s something about samurai movies that I find really comforting and grounding. People walking around slowly, just trying to enjoy some baths or poetry or something, but their codes and their swords come into conflict. I don’t know, there are different reasons why different ones appeal to me so much, but seeing a good one is always invigorating, so I figured it would be good to see one early in this new year to get things started on the right foot.

I chose SAMURAI MARATHON, officially a 2019 release, though it came to VOD and disc during quarantine time in 2020. It’s a Japanese language film, based on a Japanese novel (The Marathon Samurai: Five Tales of Japan’s First Marathon by Akihiro Dobashi), with a screenplay co-written by Hiroshi Saito (SAMURAI FICTION) and Kikumi Yamagishi (HARA-KIRI: DEATH OF A SAMURAI), but it’s directed and co-written by Mr. Bernard Rose of London, England. Obviously a samurai movie by the director of CANDYMAN is gonna catch my eye. And I’m sure glad it did because, my friends, I loved this movie. (read the rest of this shit…)

CANDYMAN and the racial divide

Thursday, November 1st, 2018

FROM THE VERN VAULT: Don’t worry friends, I’m not about to start doing reruns all the time, but there are two pieces that were written for One.Perfect.Shot that disappeared after they were bought out by Film School Rejects. Prompted by Rumsey Taylor I located them on Internet Archive and I’m reposting them for posterity.

Maybe I’m full of it but it seems to me this piece from October 26th, 2015 was a little ahead of the curve. At the time I knew of no one else who considered CANDYMAN the best horror movie of the ’90s and I didn’t think people talked enough about its exploration of the legacy of slavery in America. I’m proud of this as well as my 2005 take on the movie. (It’s not dangerous until I review it five times, is it?)

P.S. I am responsible for the headline but that term “the racial divide” bugs me now – I wish I called it “WE’RE NOT COPS – WE’RE WITH THE UNIVERSITY.”

‘CANDYMAN’ AND THE RACIAL DIVIDE: WHY ONE OF THE BEST HORROR FILMS OF THE 90S IS EVEN MORE RELEVANT TODAY

“These stories are modern oral folklore. They are the un-self-conscious reflection of the fears of urban society.” –urban legends lecture by Professor Lyle (Xander Berkeley)

“What if a person had this thing done to him and what if he had the opportunity to come back and say, ‘Watch out!’ to the world that created this person and the conditions?” –Tony Todd to Fangoria Magazine, March 1995

American horror movies have played off of all manner of primal and societal fears: tensions between social classes, the invasion of the sanctity of the home, the dangers of trespassing in forbidden places. But leave it to a couple of British artists – writer/director Bernard Rose and executive producer/short story author Clive Barker – to explicitly tie those themes to the racial atrocities of our history, creating a truly American horror story. (read the rest of this shit…)

Frankenstein (2015)

Thursday, April 6th, 2017

As I’ve mentioned once or twice, CANDYMAN might be my favorite horror movie of the 1990s. And I remember director Bernard Rose’s PAPERHOUSE being very good too when I watched it in the 1980s. But most of his movies have not been horror. Didn’t seem to be his thing. So I was intrigued when I found out that all the sudden in 2015 he did a new version of FRANKENSTEIN.

This is a modernized take on Mary Shelley’s story. The monster is not some stitched together green guy, he’s just a regular full grown man (Xavier Samuel, THE LOVED ONES, FURY) suddenly born in a secret lab through unexplained genetical engineering type methods. Victor Frankenstein (Danny Huston, THE WARRIOR’S WAY, 30 DAYS OF NIGHT, BIRTH) is there, but it’s his wife Elizabeth (Carrie-Anne Moss from the fucking MATRIX!) doing the important work now: cuddling him, shushing him, feeding him with an eyedropper. (read the rest of this shit…)

Candyman

Sunday, October 30th, 2005

This movie surprised me. Everything about it is classier than I expected. From his reputation you’d think this Candyman guy is just a B-list Jason or Freddy type. But it turns out he’s more a classic movie monster like Dracula or the Phantom of the Opera. And his movie has more subtext than all of Freddy and Jason’s pictures put together, including JASON X. Hell, throw in a couple Child’s Plays too. And one or two Halloweens. And one Silent Night Deadly Night. No Texas Chainsaws though, that would tip the scale.

You know why we have to deal with Jason? Because of some horny counselors not doing their job. Freddy, because of some overzealous parents who took the law into their own hands. Dr. Phibes because some doctors fucked up a heart operation. But we got Candyman because of a bigger reason: America’s history of racist oppression. This is the only slasher/ghost movie I know of that deals with the legacy of slavery and racism (only BLACULA comes close). (read the rest of this shit…)