Starring Stephen Dorff, Christa Denton, Louis Tripp, Kelly Rowan, and Jennifer Irwin
Directed by Tibor Takács
I have been a horror fan for more than half of my life at this point. Meaning I have seen most of the quality horror offerings under the sun. But that said, every once in a while a classic sneaks past, so we wanted to create this review section for such films. Formerly known as “Through the Cracks”, we have decided to change the name to “The Overlook’d” for obvious reasons: it’s a much cooler title.
Anyhow, I had never seen the kid’s horror flick The Gate until last night. I know, right? How the hell did that happen? But these things do happen and so for everyone that has seen the flick a million times, this will be a review of the movie from a super horror fan that – at the age of 33 – is seeing The Gate for the very first time.
Now let’s get to it.
First off let me start this out by – for lack of a better term – explaining why I had never seen The Gate until last night. This flick was always one of those films that was highly recommended to me. But usually by people whose jaws literally dropped when I told them I hadn’t seen the film as a kid. This made me a bit bitter towards the movie. But in my old age, I have let go of such feelings. Thank God.
Evidently, The Gate was a rite of passage film for most of you guys out there. But you need to understand that my parents were extremely strict about the films they allowed me to watch when I was a kid. To say the least. Little did they know they were breeding a horror fan with their senseless censorship.
Anyhow, Gremlins, Poltergeist, The Monster Squad and the like were okay because these films were usually found in the comedy and/or family sections at our local video stores. Which I guess makes sense. But The Gate was always firmly placed in the horror section at every video store I can remember in my adolescent years.
Rightfully so? Maybe.
But all the same, The Gate was a film that my parents gave a hard-pass to time and time again. And now that I have seen the film as an adult for the first time, I am utterly upset and ready to throw a fun-size fit that I hadn’t viewed the film until my f*cking thirties!
The Gate is a great gateway (natch) to horror movies for kids.
Sure there are some intense parts, but doesn’t Gremlins have that kitchen scene? Doesn’t The Witches have Angelica “The Grand High Witch” Huston? And doesn’t Poltergeist sport that — well, every scene in Poltergeist is pretty intense, so let’s move on.
The first thing that struck me about The Gate was how godd*mn adorable chubby, baby-faced Stephen Dorff was. I’m pretty sure that I can say with total honesty that this is the first time I have ever seen The Dorff onscreen and thought to myself, “Aww.”
That shite doesn’t happen. And for good reason.
Anyhow, the second thing that struck me about the movie was how easy it must have been to pitch. Think about it. Writer Michael Nankin walks into the studio and says, “Get this. I have an idea for a film. Picture the kids from E.T., stuck in the house from Poltergeist, and out of the ground in their backyard emerges… wait for it… Gremlins!”
I can see the studio heads now. All but knocking each other over trying to get to their Scrooge McDuck vault of gold coins to literally drown Nankin in every last cent. How could you not? This is great stuff! Even better is that from that (probable) pitch, to the end product slapped across the screen, more than a few new and fresh ideas and designs hit the stage.
Thus making The Gate a treat in and of itself.
I loved almost every aspect of this film and had a smile planted across my face from beginning to end. This film is just as much fun as Gremlins, Poltergeist, The Monster Squad, and I will totally be showing this to my little brats once I spit a few out in the future.
Highlights for me included the opening dream sequence, the charming cast, the practical forced-perspective effects, and the general sense of fun and magic the film sported from front to back. On top of that, it was fun to play a bit of “Spot the Future Quasi-Star” with small roles for Kelly Rowan and Jennifer Erwin (“Eastbound and Down”).
Plus, the dialogue had me in stitches more than a few times – with “suck my nose until my head caves in” being the creme de la creme.
Add to all of that an awesome “Wall Zombie”, an oddly funny dead dog subplot (that could have been its own stand-alone movie), and the neon purple lighting that signified the Hell just beyond the corner, and I was loving every minute of The Gate. This is a true classic and I’m shocked this flick isn’t as well-known and/or as well-loved as Gremlins or Poltergeist. Guess if Spielberg’s name had been on this as well, it would be more highly regarded.
In the end, The Gate was an utter delight from beginning to end and I found myself (lovingly) cursing my parents for not screening this film for me as a child. Sure, the hands under the bed, the eyeball in the palm, and the Barbie in the eye bits may have caused a few nights of sleeping in the living room, but it would have been well worth it as The Gate has the special sense of child-like wonder not found in most flicks.
If for some reason you’ve been putting off watching The Gate like this assh*le did for far too long, remedy that tonight. The movie is currently streaming on Shudder and I know you have an account because you’re obviously a horror fan. And by this point, you don’t have any excuse not to have a Shudder subscription.
Man, I loved The Gate.
Maybe I should check out The Gate II: The Trespassers, huh?
Well, maybe not…
The Gate is a kid-horror classic on the level of Gremlins, Poltergeist, and The Monster Squad. A must-watch for horror fans of all ages.
Desolation Review: Campers + Lunatic = Simplicity, But Not Always a Better Product
Starring Jaimi Page, Alyshia Ochse, Toby Nichols
Directed by Sam Patton
I’m usually all in when it comes to a psycho in the woods flick, but there was just something about Sam Patton’s Desolation that seemed a bit distant for me…distance…desolation – I’m sure there’s a connection in there somewhere. Either that or I’m suffering from a minor case of sleep-deprivation. Either way, make sure you’ve got your backpack stuffed, cause we’re hitting the timber-lands for this one.
The film focuses on mother and son tandem Abby and Sam, and the tragic notion that Abby’s love and father to her son, has passed away. The absence has been a crippling one, and Abby’s idea of closure is to take her adolescent offspring to the woods where her husband used to love to run and scatter his ashes as a memorial tribute. Abby invites her best friend Jenn along as emotional support, and together all three are planning on making this trip a fitting and dedicatory experience…until the mystery man shows up. Looking like a member of the Ted Kaczynski clan (The Unabomber himself), this creepy fellow seems content to simply watch the threesome, and when he ultimately decides to close the distance, it’ll be a jaunt in the forest that this close-knit group will never forget.
So there you have it – doesn’t beg a long, descriptive, bled-out dissertation – Patton tosses all of his cards on the table in plain view for the audience to scan at their leisure. While the tension is palpable at times, it’s the equivalent of watching someone stumble towards the edge of a cliff, and NEVER tumble over…for a long time – you literally watch them do the drunken two-step near the lip for what seems like an eternity. What I’m getting at is that the movie has the bells and whistles to give white-knucklers something to get amped about, yet it never all seems to come into complete focus, or allow itself to spread out in such a way that you can feel satisfied after the credits roll. If I may harp on the performance-aspect for a few, it basically broke down this way for me: both Abby and Jenn’s characters were well-displayed, making you feel as if you really were watching long-time besties at play. Sam’s character was a bit tough to swallow, as he was the sadder-than-sad kid due to his father’s absence, but JEEZ this kid was a friggin malcontented little jerk – all I can say is “role well-played, young man.”
As we get to our leading transient, kook, outsider – whatever you want to call him: he simply shaved down into a hum-drum personality – no sizzle here, folks. Truly a disappointment for someone who was hoping for an enigmatic nutbag to terrorize our not-so-merry band of backpackers – oh well, Santa isn’t always listening, I guess. Simplicity has its place and time when displaying the picture-perfect lunatic, and before everyone gets a wild hair across their ass because of what I’m saying, all this is was the wish to have THIS PARTICULAR psycho be a bit more colorful – I can still appreciate face-biters like Hannibal Lecter and those of the restrained lunacy set. Overall, Desolation is one of those films that had all the pieces meticulously set in place, like a house of cards…until that drunk friend stumbled into the table, sending everything crumbling down. A one-timer if you can’t find anything else readily available to watch.
Looking for a little direction way out in the woods? Look elsewhere, because this guide doesn’t have a whole lot to offer.
Children of the Fall Review – This Israeli Slasher Gets Political
Starring Noa Maiman, Aki Avni, Yafit Shalev, Iftach Ophir, Michael Ironside
Directed by Eitan Gafny
Reviewed out of Utopia 2017
Slashers are a subgenre of horror that are often looked down upon. After all, what can a movie about a killer slaughtering multiple people have to say about, well…anything. Those of us in the community know full well that this is nonsense and that any kind of horror movie can be a jabbing (no pun intended) commentary on society, culture, politics, art, etc… And that’s precisely what Eitan Gafny aims to do with Children of the Fall, one of the few Israeli slashers ever created.
Set on the eve of the Yom Kippur war, the film follows Rachel (Maiman), a young American woman who comes to Israel to join a kibbutz after suffering some serious personal tragedies. Her goal to make aliyah (the return of Jews to Israel) is however hampered by some rather unpleasant encounters with local IDF soldiers and members of the kibbutz. Pushing through, she makes friends with others in the commune and her Zionistic views are only strengthened, although they do not go untested. Once Yom Kippur, one of the holiest holidays in Jewish culture, begins, a killer begins picking off the kibbutz workers one by one in violent and gruesome ways.
Let’s start with what Children of the Fall gets right, okay? As slashers go, it’s actually quite beautiful. There are wonderfully expansive shots that make use of the size and diversity of the kibbutz. The film opens with a beautiful shot of a cow stable, barn, water towers, and miscellaneous outbuildings, all set against a dark and stormy night. The lighting of this scene, and throughout the film, is also very good. I found myself darting my eyes across the screen multiple times throughout the film thinking I’d seen something lurking in the shadows.
The kills, while unoriginal, are very satisfying. Each death is meaty, bloody, and doesn’t feel rushed. In fact, the camera has no problems lingering during each kill, allowing us to appreciate the practical FX and copious amounts of blood used. And if you believe that a slasher needs to have nudity, you won’t be disappointed.
The acting is middle of the road. Maiman is serviceable as Rachel but the real star of the film is Aki Avni as “Yaron”. His range of emotion is fantastic, from warm and welcoming to Rachel when she arrives to emoting grief and pain during his Yom Kippur announcement where we learn that he was a child in a concentration camp. The rest of the cast are perfectly acceptable as fodder for the killer.
So where does Children of the Fall stray? Let’s start with the most obvious part: the runtime. Clocking in at nearly two hours, that’s about 30 minutes too much. The film could easily have gone through some hefty editing without affecting the final product. Instead, we have a movie that feels elongated when unnecessary.
Additionally, the societal and political commentary is very in-your-face but the film can’t seem to make up its mind as to what it’s trying to get across. Natalia, a Belarussian kibbutz worker, raises the concept of Israeli racism, misogyny, and xenophobia, her hostility unabashedly pouring out in the midst of IDF soldiers, locals, other kibbutz members, and more. Is there validity to what she’s saying? Undoubtedly. But there is also validity to Rachel’s retorts, which include calling this woman out on her own vitriolic views. This back-and-forth mentality frustratingly prevails throughout the film, as though Gafny was unwilling to just commit.
The dialogue is also quite painful at times, although I attribute this to difficulties with translating from Hebrew to English. Even the best English speakers in Israel don’t get everything perfect and the little quirks here and there, while charming, are quite detracting. Also, why is this movie trying to tell me that Robert Smith of The Cure is a character here? While amusing, it makes absolutely no sense nor does it fit in Smith’s own timeline.
Had this film gone through a couple rounds of editing, I feel like we’d have gotten something really great. Eitan Gafny is definitely someone that we need to be watching very closely.
While Children of the Fall has a lot going for it, it has just as much working against it. Overly long, you’ll get a really great slasher that is bogged down by uneven social and political commentary.
Madam Yankelova’s Fine Literature Club Review – A Charming, Quirky Dark Drama
Starring Keren Mor, Yiftach Klein, Hana Laslo, Ania Bukstein
Directed by Guilhad Emilio Schenker
Reviewed out of Utopia 2017
One of the great joys I have in being a horror fan is seeing horror films from around the world. I view these films as a chance to learn about the fears, folklore, mythology, and lore of varied cultures. Films like Inugami, Frontier(s), [REC], and the like transport me across oceans and into places I might never get the chance to visit otherwise. Hence my interest in the Israeli dark drama Madam Yankeolva’s Fine Literature Club, the feature debut of director Guilhad Emilio Schenker.
The film follows Sophie (Mor), a member of a strange, female-only reading club – who believes that love is a lie – that we soon realize brings men into its midst only to have them killed. The woman who brings the most fitting man is awarded a trophy for her fine taste. When a member reaches 100 trophies, they get to enter a coveted and highly esteemed upper echelon of the reading club’s society, one that includes lavish surroundings and an almost regal lifestyle. Sophie starts the film earning her 99th trophy but her plans towards the all-important 100th trophy are thrown askew when she ends up developing feelings for her latest victim. She must now decide if the mission that has been so dear to her for so many years is something she wishes to see through or if she’s ready to take a huge risk and fall in love.
Now, if this seems like a strange story for a horror website, I don’t disagree. Madam Yankelova’s Fine Literature Club is certainly not your traditional horror film. In fact, I’d liken it far more to the more playful works of Tim Burton and Jean-Pierre Jeunet’s The City of Lost Children than something more grotesque and violent. It’s very playful and quite charming, although there are times when the presentation feels amateurish and certain moments when things become wildly unbelievable. That being said, the film aims to be a dark fairy tale come to life, so a healthy amount of “I’m okay letting that go” will not go unappreciated.
The film is shot in such a way that it’s very soft around the edges, almost like we’re constantly in a dream. This is aided by composer Tal Yardeni’s score, which obviously takes inspiration from Danny Elfman, playfully weaving its way through each scene.
While there’s a lot to love about Madam Yankelova’s Fine Literature Club, it’s certainly not a flawless film. As mentioned previously, there are times when it feels quite amateurish, as though no one thought to look at how a scene is being filmed and say, “People, this isn’t how things would go down. We can have fun but this just doesn’t sit right.” Additionally, the story moves very quickly. Don’t get me wrong, I’ve heard of love at first sight. But that’s not how this story plays out, so the wildly strong feelings that develop between Sophie and Yosef (Klein) seem strangely out of place.
All things being what they are, Madam Yankelova’s Fine Literature Club is a charming film that can definitely appeal to horror fans if they’re willing to stretch their boundaries to include films that have absolutely no scares or gore but imply quite a horrific situation.
Charming, quirky, but not without its faults, Madam Yankelova’s Fine Literature Club is a dark drama for fans of Tim Burton and Jean-Pierre Jeunet. Don’t go in expecting any scares or gore. Rather, anticipate a fairy tale that might be just a bit too gruesome in tone for young children.
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