Scissoring with Sharon Stone & My Cat

Recently, it has come to my and some delightful readers’ attention that the 1990s output of horror cinema is something...well, different from other decades. It’s long been though of as a cinematic void in the genre, but look hard enough and you’ll pull up a few random pre-Scream gems and more importantly, a very different kind of nostalgia.


See, in 2011, the ‘80s are just funny. Camp counselors with one big earring getting slaughtered to post-disco beats? It’s like being tickled! The ‘90s, on the other hand, don’t yet have that distance. The actors *look* like us. They use a lot of the same lingo, even if they speak said lingo into elite car phones or public phone booths hunted down after receiving important messages on their beepers. We chuckle more and more as the time distance grows, but not so much that we excuse these films the kinds of dated errors that make the ‘80s so charming.

I have no idea why Scissors ended up on my Netflix queue, but hey, it’s got some genre pedigree behind it (director Frank De Felitta made the cult classic Dark Night of the Scarecrow), a fresh off of Mars Sharon Stone, and a lot of creepy dolls. Also, it’s the epitome of ‘90s horror for reasons soon to be discussed.


Quick Plot: Angie is a beautiful but frigid 26 year old who prefers the company of her strict psychologist (Ronny Cox!) and collection of antique store dolls to handsome single men or speed dating. Much like Catherine Deneuve in Replusion, the ice blond Angie easily attracts male attention that she has no idea what to do with. After almost being raped in her apartment elevator by a red bearded stranger, she meets a pair of Dead Ringers-lite twin brothers, both played by Lifeforce and Turkey Shoot star Steve Railsback.

Also, by the way, Joplin Zelda Rubinstein Intravia's new crush.

Twin Alex is a successful soap opera actor, while his brother Cole is a creepy wheelchair bound artist with an abominable haircut. Somewhere in the middle is Alex’s ex/Cole’s current cohort Nancy, who matters only because she’s played by Sheila from the film version of A Chorus Line.

NOTE: This might only matter to me.

As Angie begins an awkward courtship with Alex, mildly strange things start to occur but because of Angie’s own oddness, we’re not entirely sure if actions or her own fragile mind are to blame. Eventually, a faked job offer leads her to a Pee-Wee’s Playhouse sort of luxury apartment where she’s soon locked in with immobile furniture, angry birds, and a scissors-stabbed corpse.

Scissors is a strange movie, both in terms of plot and general feel. It was made by  Frank De Felitta, the man behind the novelist behind Audrey Rose and The Entity.  Whereas (in my opinion) both of those were great stories that wandered off into muddled territory, Scissors is a story that feels trite, then progressively turns bizarre, then silly, then dramatic, then wacky, and finally, rewarding.


Part of it does indeed come from the nuevo ‘90s nostalgia that paints each frame with mildly grainy and slightly badly dressed hue. Part of it has to do with the fact that the movie features about five extreme closeups of a creepy pig doll that seems to come with his own theme. There’s a delicious twist that’s more than ridiculous, followed by one that’s kind of awesome. It's ultimately the film equivalent of a box of Cracker Jacks, filled with handfuls of sweet goodness, evil little peanuts just waiting to ruin your mouth, and finally, an exciting little prize that makes it all worth it in the end. 

Historical figure trivia! Cracker Jacks' newest hit!

High Points
She might be somewhat insane in real life, but Sharon Stone holds the film together quite well, even when battling a bird

Low Points
During the opening credits, I was totally sold on the circus-like score. Bought and returned. The music of Scissors is, after the first two minutes, used fairly horrendously, with overly dramatic classical tunes practically raping the action onscreen, and I’m not just referring to the hilariously scored almost-rape scene


Lessons Learned
90% butter fat is terrible for the skin


All things cry and make a fuss when they’re lonely


A great way to meet an eligible bachelor? Fight off a rapist down the hall

Rent/Bury/Buy
I was pleasantly surprised by how much I enjoyed Scissors. At over 100 minutes, it’s far longer than it should be and filled with a tad too many time-wasting red herrings, but there’s something quite entertaining about where the storyline goes. 


Also, for those who care, Sharon Stone gets naked. Railsback, however, remains fully clothed. And the cat keeps her collar on (that’s not a euphemism; there’s a cat and it wears a collar. You’re disgusting).

So is that hair...

More Proof For Why You Should Never Let Barbara Hershey Be Your Mom

Here’s the thing about the act of “going to the movies”: it lets you know what a ‘real’ roomful of ticket buyers actually thinks about virtually every beat. Sure, there are cell phone ringtones that defy rhythmic logic, inappropriate comments about after-show plans, and nacho crunching so loud it would make Marlee Matlin jump, but there is sometimes a genuine joy that comes with a Friday night crowd at a horror movie.

Thus is how I saw Insidious and really, that’s the way this better-than-you’d-think ghost(ish) story should be seen.

Quick Plot: A soon-to-be unhappy happy family moves into a creepy new house and immediately starts sensing trouble inside. Musician mom Renai (Rose Byrne, always sympathetic and sad-eyed) hears funky sounds over the baby monitor while middle child Dalton complains about bad things abound in his bedroom and dad Josh (Patrick Wilson) grows cold and distant. Before long, the boy falls into a mysterious coma and Renai is seeing flashes of mysterious strangers lurking in closets.

That’s the very basic setup of Insidious, and maybe all you should know going in. For the fresh spoiler-free review, skip down to the bottom or just hear me say here “I liked, didn’t love, but genuinely enjoyed Insidious and highly recommend buying a ticket.” Thanks for stopping by.

MINOR SPOILERS BEGIN

With Dalton unresponsive and the weirdness growing in the house, the Lamberts do something wacky (for a horror movie) and move. Assuming their real estate jenga cost them a few bucks, the new digs are much smaller and less haunting-ready, but that doesn’t stop an evil little dwarf thing from dancing wildly to Tiptoe Through the Tulips!

Yes, that happens, and it’s way more terrifying than Tiny Tim’s turn as a maybe-killer clown in Blood Harvest.

although looking at this photo, maybe Blood Harvest is way scarier than my memory recalls

I mean it! The dancing dwarf thing is ICKY and got the kind of universal “Ahh!” scream from my nacho-eating movie crowd that you long for with these kinds of films. For its first half, Insidious is incredibly effective as a haunted house/child tale. The solid cast keeps it grounded, central horror of a little boy lost keeps us caring, and two pretty dang incredible jump scares catch us at just the right place. It’s a GENUINELY scary film.

Even the ghostbusting comic relief keeps Insidious alive. At the recommendation of Josh’s mom Barbara Hershey (whaaaa?), Renai invites a trio of paranormal investigators inside. Sure, they’re clearly modeled on Poltergeist’s Zelda & Co. (or nerds from that OTHER Barbara Hershey possessed film, The Entity), but as played by screenwriter Leigh Whannell, Angus Sampson, and Dead End’s Lin Shaye, they’re quite entertaining and do a nice job of lightening the mood before the inevitable spookhouse finale. And that, dear readers, is right where Insidious goes from great little theatrical horror treat to good one.

It’s not that Insidious throws away its strengths in the final reel; it just doesn’t quite commit to what it had established. The explanation for Dalton’s possession/absence/coma-thing works fine, and bringing in Josh’s past hauntings adds a fine layer to the end. The problem lies in Wan’s execution and styling in The Further, the sort of astral netherworld trapping Dalton and a slew of other beasties. While individual moments are skin-crawling (ironing ironing ironing!), the setting has no real visual style or basic geography, something that limits our sense of place. It doesn’t help that the main villain that has been terrifying us for the first hour ultimately looks like an extra from the ballroom dance sequence in Labyrinth.

But that being said, Insidious does end on a pretty fantastic note and hey, for one hour, it actually unnerved me. That’s not an easy feat nowadays.

High Points

Just because I get tired of people whining about it, let us all give a little nod to the fact that Insidious is rated PG-13 and in now way does that ever detract from any of its scares

One of my biggest pet peeves in horror is how characters never seem to think to turn on their lights when there are mysterious noises and/or certain killers lurking throughout their homes. So thank you, Josh Lambert, for insisting on flicking on EVERY SINGLE light switch when investigating

Low Points

Generally, the whole design (or lack thereof) of Dalton and Josh's astral land. Now that I've said that, I'm envisioning an amusement park named Astral Land and my goodness, it's far more visually interesting 

Lessons Learned

When not eerie, gas masks are great for a go-to laugh

Pay attention to your children's art. It may be awful, but occasionally, it will also give perfectly specific clues for finding them in Astral Land

Matching your pajamas to your family members is really just asking for a demon thing to come take one of you away

If we’ve learned anything from The Entity, Beaches, Black Swan, and now, Insidious, it is this: Barbara Hershey is not the woman you want to be your mom

Stray Observation

So do we all agree that the only reason this family had two other children, in terms of story, was so 1) we could have a baby monitor scare and 2) the older brother could spout that quite unsettling line, "I don't like when Dalton walks around." Because really, that's all they were there for yes?

See/Skip/Sneak In

Depending on which marketing campaign you’ve seen, you probably know that Insidious is made by either the (deep voice) “team that brought you Saw” or (slightly less deep voice) “producers of Paranormal Activity.” What it actually ties most to, however, is Wan & Whannell’s second team effort, Dead Silence, an imperfect but fun little throwback to classic horror. Insidious is far more accomplished and does seem to show an upward growth for these two genre enthusiastic Aussies. More importantly, it’s an original horror film (cue token ‘not a remake/sequel/reimagining/redux/rere’ tag) that is, in my opinion, easily worth a modern day ticket price. See it, share your thoughts, and if you eat nachos (and why should you not?) please, I say please, stop raping them during the quiet parts.

The Day After

I know, I know. For horror fans across the land, no day hurts quite so much as November 1st. Gone is the zombie cinema playing on loop and short-lived coolness of being the person at work folks come to for recommendations. Back are the odd stares you get for your refusal to remove that dangling glitter skeleton or energizing yourself with candy corn instead of coffee.


It's not easy being us (or for that matter, above pictured Pumpkin Pete, who tragically passed away two days before his holiday and more tragically, smelled about as pleasant as that kid whose brains get pumpkin mushed in Halloween III).

Sigh.


But hey, there's always movies to watch! And write about! And read about! So many in fact that the film fanatic Rupert Pupkin is gathering lists from bloggers on the most obscure or underrated horror films of all time. Check out my top ten right here, then get thee to Netflix to back up how much you agree with me!


Also, elsewhere in the generous reach-out of bloggery is my old pal T.L. Bugg, who's been tacking the not so easy task of picking the best remakes of all time. He's found some surprising picks, all justified with panache. Head there and track it back, then don't forget to see my guest post of 13--yup, I found 13!--good, great, or um...somehow merit holding remakes.


Next, as your teeth are busy chewing through a whole lot of bite-size chocolate goodness, give your ears a workout with a little Girls On Film Radio, where three lovely ladies and myself got all classy with a discussion of 99.9 and, in a true act of elegance, Lucker the Necrophagous.

Fiiiiine, necrophilia with airhead hookers isn't quite the definition of Emily Post. So let's clean this joint up with something way more refined: Barbara Hershey getting ghost raped!

Head to the Gentlemen's Blog to Midnite Cinema for my thoughts on 1982's The Entity. Then take a shower.


Finally, we'll now take a moment to look forward to what might come next...

Just go with it kids. Just go with it.