THE JOHNSONS [1992]

Womanhood gets messy in Rudolf van den Berg’s Dutch horror THE JOHNSONS. As Emalee approaches her fourteenth birthday, her sleep is plagued with recurring nightmares. In them, she encounters seven males who brutalize her with molestation and blood baths. Young Emalee struggles to establish a connection between her night terrors and real life, until she acknowledges that her eagerness to menstruate could be to blame. Emalee accompanies her mother, a renowned photographer, on a camping trip for work in hopes of relieving anxiety. During their escapade, Emalee and her mother discover the nightmares are not simple illusions, but dreams come true. Simultaneously, a university professor, Winston Keller, learns of a ritual carried out by the Mahxitu Indians and their god, Xangadix: the evil deity produces seven sons for the purpose of impregnating their sister, who shall then give birth to an apocalyptic progeny. Professor Keller’s background in demonology lands him the daunting task of assisting the FBI in placing septuplet men with a bloodstained history. His research ultimately links Emalee, the ancient myth, and the seven siblings. Professor Keller must release Emalee from the grips of the destructive ceremony before world’s end.

THE JOHNSONS bears tremendous potential that is left unmet. Admirably, the movie is suspenseful as all Hell; there are a multitude of absolutely outlandish, sinister situations which provoke violent nail biting. Emalee’s dream sequences are thoroughly compelling, as the wicked visions are portrayed in a way that the audience can experience uncompromising fear and restraint as strongly as she does. Sickly children with crimson colored hands are haunting as they surround her, trapping her into a corner with no way out. The images of faceless, unclothed men on a baneful mission are chilling to watch as they overpower defenseless, confused Emalee. Special effects, though not always believable, are plentiful and constructive. Godmonster Xangadix’s alien-like appearance, snug inside a giant, transparent egg, is an added sci-fi factor bonus. The inconsistent acting between the different characters and contexts is where the feature falls apart. Some actors seemed sincere in their efforts, while others were far from convincing. We can all appreciate a bit of silliness in horror, but the juxtaposition of serious circumstances against the often laughable performances was disappointing. THE JOHNSONS is a creative and engaging story of ancient-myth-meets-reality told insufficiently through its actors.

Rating: 6/10

Director: Rudolf van den Berg

Cast: Esmée de la Bretonière, Monique van de Ven, Kenneth Herdigein
Country: Netherlands

FRIGHTMARE [1974]

The FRIGHTMARE never ends if it’s genetic. After being convicted for cannibalism, Dorothy and her husband/accomplice Edmund are locked up in a mental institution for fifteen years. Upon release, Dorothy returns to her old ways, luring victims into her home for tarot card readings and executing them as she sees fit. Meanwhile, their daughter Jackie chains herself to the responsibility of looking after them. Jackie is also the guardian of her sister, Debra, who was born just prior to the time their parents were admitted. Jackie is violently pulled in three different directions as she attempts to build and maintain order for her family members, a loose-cannon stepmother, a weakened father, and an untamable sister. When Jackie meets Graham, an especially kind psychiatrist, he aims to liberate her from such strenuous obligation. Since Debra’s ornery behavior is Jackie’s main source of concern, Graham becomes acquainted with Debra in hopes of improving her attitude. He concludes he must bridge the gap between Debra and her estranged parents for substantial changes to occur. Unfortunately for Graham, he’s dealing with brain-craving psychos way beyond his level of expertise.

FRIGHTMARE drips, then bursts with bloody mayhem. Both the story and its characters are well-developed before we see the ravenous old hag terrorize, but the wait is worth it. Featuring weapons like a fire poker and a pitchfork, this flick offers thirst-quenching cruelty. Dorothy’s positively remorseless character is handled in an expertly creepy fashion, delivering a performance that will make your spine tingle for hours. She slyly chooses victims with no family or friends, deeming the lonely worthless. Dorothy’s disposition towards her hopeless prey rapidly moves from purely tranquil to downright malicious. The dialogue connects so beautifully with each scene, you could cut the atmosphere with a knife. From one setting to the next, the transitions are smooth and artfully done. There are a few mysteries that may eat at your mind from the beginning of the film, but the answers are eventually revealed, piece by piece, which makes for a shocking, slightly depressing end. FRIGHTMARE exhibits the fatal consequences of supplying love and loyalty to the wrong people in an unapologetic, ghastly manner.

Rating: 8/10
Director: Pete Walker [HOUSE OF WHIPCORD, SCHIZO]

Cast: Rupert Davies, Sheila Keith, Deborah Fairfax
Country: UK

SOMBRE [1998]

SOMBRE follows the bleak life of a serial killer through a blackened lens. Jean is a deeply disturbed man who survives off sex with prostitutes and strangling them to death. He is always on the prowl, wandering around for women to violate and dominate. The reason for his lustful rage is left unknown. When Jean meets Claire, a naive and untouched woman, he is forced to confront his feelings of genuine connectedness to her. Claire also finds herself struggling to accept the gripping emotions she has towards him. Claire’s sister accompanies Jean and Claire as they become familiar with one another, further complicating their perplexing affair. Much to Jean’s dismay, his voracious appetite for women binds him to the life of a lone wolf, preventing the development of a stable relationship in any form. Claire fights relentlessly to maintain contact with him, dismissing his unpredictable behavior and depraved lifestyle. She willingly subjects herself to his mania in order to remain a person of importance in his mixed up life. She even starts to bask in it.

SOMBRE is a slow-moving, psychological roller coaster ride with no end in sight. Perhaps the lack of adequate lighting and overkill of close up shots contributed to how drawn out the film felt. Clocking in at just under two hours, the movie is filled with snippets of randomness and numerous scenes of raw sexuality. The randomness is thought-provoking, and the sexuality feels real, but the two don’t seem to fit together. The storyline is either too vague or not interesting enough to follow consistently. Marc Barbé fittingly plays Jean’s character as an untamable (but fearful) beast of man, which is one strong point. In addition, the soundtrack acted as a profound mood enhancer. Bauhaus, for example, was a source of intoxicating bliss in the otherwise complex, dreary world of Sombre. More than anything, it seems director Philippe Grandrieux intended to make an art house film rather than a thriller. SOMBRE requires undying patience, and it should be watched with a mind void of distraction to be appreciated in any sense. Look elsewhere if you’re seeking French madness.

Rating: 5/10

Director: Philippe Grandrieux

Cast: Marc Barbe, Elina Löwensohn, and Géraldine Voillat
Country: France

MOTHER'S DAY [1980]

In MOTHER’S DAY, vacation spells “agony” for best friends Jackie, Abbey, and Trina. The three girls plan their annual reunion getaway expecting to feel rejuvenated by its completion. They decide to spend their weekend together bonding in the woods of New Jersey. From the car ride to the campsite, the sabbatical is brimming with laughter and reminiscing about the good ol’ days. The merriment carries on until night two, when the girls are packed up into their sleeping bags and kidnapped by two male inbreds, Ike and Addley. Like a cat would present a mouse to its owner as an expression of loyalty, the primitive perverts deliver the three victims to their mother. The redneck family then beams with pride. Beyond that point, the abnormally sadistic mom insists on dictating how the girls will kill their vacation time: getting raped, beaten, and tortured. Jackie, Abbey, and Trina are used as tools for coaching the twisted brothers on how to become the greatest brutes on the planet, while the tenacious female trio plots to escape with their dignities intact.

MOTHER’S DAY is packed with the kind of action and brutality that only a mother could love. Despite the staggeringly dark basis of the story, the movie is filled with hilarity. On one hand, the rape scenes are repulsive and intensified by quick shots that cycle through multiple viewpoints. On the other hand, it is dangerously comical to watch the mother’s lax demeanor remain unscathed as she witnesses her sons fulfill their carnal desires. As a matter of fact, it is almost challenging not to smile, laugh, and shake your head when the savagery manifests. Yes, on the surface, it seems terribly immoral to find such behavior awfully entertaining. However, the film is assembled in a manner that the mood alternates so rapidly, any negative feelings you may experience are quickly dissolved. The movie contains the essential helping of bright red blood and nauseating scenes that are sure to increase heart rate. Mother’s Day is an all-original gem to be eagerly shared between horror and exploitation fans. It might even become your new favorite movie.

Rating: 10/10

Director: Charles Kaufman [FEROCIOUS FEMALE FREEDOM FIGHTERS]

Cast: Nancy Hendrickson, Tiana Pierce, Frederick Coffin, Beatrice Pons
Country: USA