Film Review: House On Haunted Hill (1999)

Release Date: October 27th, 1999 (premiere)
Directed by: William Malone
Written by: Dick Beebe, Robb White
Based on: House On Haunted Hill by Robb White, William Castle
Music by: Don Davis
Cast: Geoffrey Rush, Famke Janssen, Taye Diggs, Ali Larter, Chris Kattan, Peter Gallagher, Bridgette Wilson, Max Perlich, Jeffrey Combs, Slavitza Jovan, Lisa Loeb, Peter Graves (cameo), Greg Nicotero (uncredited)

Dark Castle Entertainment, Warner Bros. Pictures, 93 Minutes

Review:

“Dr. Richard Benjamin Vannacutt. He out-butchered Bundy, made Manson look meek.” – Peter Graves

Man, it’s been a really long time since I’ve watched this but for some odd reason, it holds a special place in my dark heart. I’m not sure if it is due to when it came out and the effect of nostalgia or because I actually consider it to be better than the film it is a remake of, which almost feels sacrilegious to type because Vincent Price, that film’s star, is why I fell in love with horror to begin with.

Generally, I’m not a fan of remakes in the same way I’m not a fan of cover songs. I really feel as if these things should only exist if they can justify themselves by being better or at the very least, being an interesting new take on the source material they are borrowing from.

1999’s House On Haunted Hill is a really good example of a film that takes its inspiration from its predecessor and makes it something else without sacrificing what the original vision was. It’s not an easy task to achieve but Dark Castle really started out on a good foot with this, their first of a few classic horror remakes.

Ultimately, this takes the formula from William Castle’s classic haunted house tale and ups the ante in a way that is very ’90s. It’s more extreme, has a fair bit of good gore and it updates the concept into something contemporary for the time. It’s also more of a psychological horror film and goes places that the original one couldn’t. The scene in the hallucination chamber is well done and actually kind of terrifying, even for a horror aficionado like myself.

That being said, there are three key things that make this remake a solid one.

The first is the ensemble cast. For a horror film with slightly more than a half dozen main players, we have an assemblage of some really good talent. Everyone sort of plays a typical horror archetype but they are all really good at it. I like everyone in this, top to bottom, regardless of whether or not they’re playing the innocent and good character thrown into a literal hell or they’re playing the evil, conniving bastard with some sort of dastardly trick up their sleeve.

Frankly, as good as everyone is in their roles, Geoffrey Rush and Famke Janssen steal every single scene they’re in. I can’t say that they outclass and out act every other actor here but they just rise to a different level and they seriously look like they are enjoying hamming it up in this twisted movie.

The second thing that makes this film work is the atmosphere. This isn’t the house from the original film. Instead, we’re trapped with these characters in a burned out art deco styled fortress of the 1930s, which was used as an insane asylum ran by an evil and sadistic doctor that used to butcher his patients.

Beyond that, the sets are incredible and the art direction in this film was magnificent. I really dig the lighting, the visual effects, the general cinematography and just about everything visual. The practical effects are great and even if the CGI feels dated now, it works for what this is and it doesn’t take you out of the picture like some of the CGI you’d see from this era. The Lovecraftian inspired blob of spirits is actually kind of cool and it works tremendously well with the tone of the film.

The third thing that works wonders is the score. The music is a great mix of a classic horror movie soundtrack and ’90s era industrial styled instrumentals. The film even features Marilyn Manson’s “Sweet Dreams”, which adds another level of dread and atmosphere to the already effective presentation of the picture.

I’d like to give credit to the director, William Malone. He managed this project well and I have to give credit where it’s due, especially since I don’t like the other films that I’ve seen of his: Creature, FeardotCom and Parasomnia. But maybe I will give those movies a re-watch soon, as it’s been a long time.

When this came out, it was a film that critics hated but I remember most people enjoying it. It’s got a ’90s campiness to it but it’s far from comedy and I’d say that it’s aged well. It’s certainly better than what the modern standard seems to be in the horror genre.

I think that I’ll revisit Dark Castle’s Thirteen Ghosts remake soon, as it has been a long time since I’ve seen it but I had a good experience with it, back in the day. I may also finally watch the sequel to this film. I heard it’s nowhere near as good but with this fresh in my mind, I’d like to take another trip to the haunted asylum.

Rating: 8/10
Pairs well with: the other Dark Castle remakes of classic horror films, as well as other late ’90s and early ’00s ghost movies.

TV Review: Californication (2007-2014)

Original Run: August 13th, 2007 – June 29th, 2014
Created by: Tom Kapinos
Directed by: various
Written by: various
Music by: Tree Adams, Tyler Bates
Cast: David Duchovny, Natascha McElhone, Madeleine Martin, Evan Handler, Pamela Adlon, Madeline Zima, Stephen Tobolowsky, Jason Beghe, Bill Lewis, Judy Greer, Tim Minchin, Mädchen Amick, Ezra Miller, Justine Bateman, Peter Gallagher, Kathleen Turner, James Frain, Carla Gugino, Rob Lowe, Zoë Kravitz, Meagan Good, Rza, Maggie Grace, Michael Imperioli, Heather Graham

Totally Commercial Films, Aggressive Mediocrity, Twilight Time Films, And Then…, Showtime, 84 Episodes, 29 Minutes (per episode)

Review:

I heard a lot of good things while Californication was on the air. I held off on checking it out until it was over, recently binge watching it on Netflix.

The story follows novelist Hank Moody (David Duchovny) as he tries to win back his long time baby mama Karen (Natascha McElhone) and balance a life of sex addiction, drugs, booze and his daughter (Madeleine Martin). Also, early in the series, he gets caught up in having sex with the underage daughter (Madeline Zima) of his baby mama’s new fiance. The show is accented by Hank’s manager and best friend, Charlie (Evan Handler) and his wife, Marcy (Pamela Adlon).

The show starts out really strong and each season is actually pretty good before it runs off the rails in the final season of its seven season run.

Duchovny is lovable as the childish and womanizing novelist but ultimately, he constantly does questionable things and always finds himself in trouble or making situations much worse. Sometimes, it is just the result of unforeseen circumstances but typically it is the result of a myriad of bad or careless decisions.

The constant back and forth between Hank and Karen is enjoyable for the first few seasons but it eventually grows tiresome about midway through the series’ run. Maybe that is because I binge watched it and didn’t see their relationship grow, evolve and fall apart over the course of several years time.

Hank’s daughter started out as a decent enough character but after a season or two, she becomes completely unlikable and doesn’t recognize that her father isn’t really all that bad and that despite his pitfalls has genuinely tried to put her first.

The best overall story during the run of the show was the up and down relationship of secondary characters Charlie and Marcy. They go through more real world problems and drama than Hank and Karen do and in the end, they reconnect and find each other, ending off better than they ever were throughout their tumultuous relationship. And Stu, who becomes Marcy’s husband over a season or two, was hysterical. The love triangle between Charlie, Marcy and Stu was the highlight of this entire show. And honestly, this relationship makes Hank and Karen’s look like bullshit high school level drama.

By the time I got to the end, I really didn’t care about where Hank and Karen ended up because based off of their track record, I knew it had the possibility to go in the opposite direction five minutes after the final credits rolled.

The show was pretty solid for most of its run but the final goodbye was long overdue by the time I got to the end.

Rating: 7.75/10
Pairs well with: Shameless, Weeds, Entourage and Aquarius.