The Night House: A Tale of Love & Death

Do we really know everything our spouses? As director David Bruckner's The Night House opens, Beth is grieving after her husband Owen suddenly commits suicide. There seems to be no reason for his actions, and she's lost her moorings, drinking heavily, poring over pictures and going through his things, trying to find an explanation. Strange things begin to happen in the house they shared, which Owen built for them. Beth begins to suspect these events are supernatural in origin, and may be tied to a near death experience from her past.
 
Beth finds evidence that Owen may have had a secret life, and discovers an odd, reversed floor plan of their house among his things. Was Owen really the man she thought he was? As the layers of the story are unraveled, we learn things about both Beth and Owen which shed a different light on their relationship, and the haunting events that are plaguing Beth. Is Owen returning from beyond death to warn her about something, or are there other forces at work here? What is the real truth of Beth and Owen's relationship?

 
The Night House is a compelling thriller, written by Ben Collins and Luke Piotrowski. It's a thoughtful and intriguing look at the bond between couples, intertwined with an eerie tale of the supernatural. It's a powerful story that's as much about the intensity of the relationship between Beth and Owen as it is about deeply scary moments. The film mostly takes a more reserved approach than some modern horror fare, though there are some jump scares and a couple of frightening set pieces. The movie also has a great visual style, thanks to director Bruckner and cinematographer Elisha Christian.


The cast in The Night House is first-rate. Sarah Goldberg and Vondie Curtis Hall as Beth's friends and Evan Jonigkeit as Owen are excellent, but this film belongs to Rebecca Hall. Hall, who's been terrific in movies like The Town, is superb here, anchoring the film with her dedication to the central role. You can feel the intensity of every emotion that Beth feels, see it in her face and in the way she moves, and hear it in the way she speaks. It's a bravura performance, and if there was any justice, Hall would have won several trophies for it, though most awards shows don't give out accolades for genre films.

 
The Night House is an atmospheric thriller that's well worth seeking out for horror and suspense fans looking for something a bit different on movie night. Director David Bruckner also helmed the upcoming re-imagining of Clive Barker's Hellraiser, so if you want to see some of his earlier work, you can start here. If you enjoy movies like The Sixth Sense and The Others, or well-produced tales of ghostly happenings, eerie occurrences, complex relationships, and love after death, then seek out this film. The movie is currently streaming on HBO Max, and is also available on Blu-ray and DVD. Here's a link to the trailer for The Night House: https://www.youtube.com/watch?v=2Tshycci2ZA.

Last Night In Soho: Darkness in 1960s London

Sometimes viewing the past through the haze of a romantic prism leads to a harsh dose of reality. That’s just what happens to aspiring fashion designer Eloise “Ellie” Turner in director Edgar Wright’s thriller, Last Night In Soho (2021). Ellie has an idealized view of London’s fashion and culture, thanks to her grandmother, Peggy, who raised her after Ellie’s mother died when she was just seven years old. Peggy has told Ellie stories of the old days in the “swinging London” of the 1960s, and Ellie loves playing her grandmother’s old records, listening to the likes of Dusty Springfield, Cilla Black, and The Walker Brothers. When Ellie journeys to London to study at the city’s prestigious College of Fashion, she expects to have a great adventure and become a star designer. Instead, she becomes embroiled in a terrifying mystery that has its roots in the past times that she loves so much.

When her living situation at the dorm proves to be less than ideal, Ellie rents a upstairs room in a flat owned by an elderly lady named Ms. Collins. She begins to have vivid dreams of London in the 1960s, in which she shares the experiences of a young singer name Sandie, who’s trying to break into the music business. Sandie becomes enthralled, and later manipulated, by a calculating man named Jack, who isn’t quite the helpful guy he seems at first glance. As Ellie’s dreams get more frightening and intense, her life and Sandies start to intertwine. Her dream world spills over into her real life, and Ellie realizes that Sandie may have been murdered in the past. But how can she convince her friend John or the police that her experiences are real? Since her late mother had a history of mental illness, will everyone assume that Ellie’s going mad? 

Last Night In Soho is an intense, stylish thriller that is worlds apart from director Wright’s previous works, which include Shaun of the Dead, Scott Pilgrim vs. the World and the hyperkinetic action thriller Baby Driver. Last Night In Soho is a visually dazzling film, thanks to Wright’s excellent direction and the superb work of cinematographer Chung-soon Chung. There are several striking sequences in this compelling mix of murder mystery and ghost story, including a scene where Sandie descends a staircase in a club, and Ellie is reflected in the mirror along the stairs. Much of the story deals with the duality of images and the harsh truths behind what you see in the mirror, as even Ellie begins to question what she's really seeing in her lucid dreams.

The costume design is excellent, and the recreation of 1960s era London is very well done. As with Wright's previous work, the soundtrack is fantastic. He and his crew have carefully selected songs that evoke the era, including music from Dusty Springfield, The Searchers and The Kinks. The cast is fantastic, with Thomasin McKenzie doing a fine job conveying Ellie's wide-eyed vulnerability, and Matt Smith offering a chilling portrait of the manipulative Jack. Anya Taylor-Joy, who was so good in The Witch and the Netflix series The Queen’s Gambit, is a revelation as Sandie. Not only does she fully embody the part of a 1960s ingenue with dreams of pop stardom, she even sings in the film, performing the Petula Clark classic “Downtown.” As an enjoyable bonus for fans, a trio of British actors who rose to fame in the 1960s are featured in the film; Terence Stamp, Rita Tushingham and the late Dame Diana Rigg, who plays Ms. Collins.

Last Night In Soho is an eerie, thrilling tale of psychological terror. While it celebrates the pop art world of 1960s London, the film also effectively conveys the darker, misogynistic streak beneath the glitter and flash of the era. Wright pays homage to several directors, including Alfred Hitchcock, Roman Polanski, Brian DePalma, and Mario Bava and his use of rich colors in his giallo films. There are also nods to classic tales of terror like The Innocents, Carnival of Souls, and Suspiria, and 1960s era British dramas like A Taste of Honey and Beat Girl. While it falters a bit in its final act, Last Night In Soho is an absorbing film, and worth checking out for thriller fans and cinephiles. The movie is now streaming on HBO Max, and is also available on Blu-ray and DVD. Here’s a look at the trailer for the film: https://www.youtube.com/watch?v=AcVnFrxjPjI.

Gus Moreno's Unsettling "Thing Between Us"

In the best tales of horror and the supernatural, the most frightening demons are the ones that manifest inside ourselves. In Gus Moreno’s offbeat debut novel This Thing Between Us, the nightmare begins when Thiago and Vera, a married couple in Chicago, move into a new condo. They hear odd noises at night, which could be caused by their inconsiderate neighbors, but they also experience a number of other strange occurrences. Sometimes, the couple hears scratching in the walls. They believe they might have rats, but an exterminator doesn’t find anything. At first, these disturbances seem fairly innocuous. Then, their Alexa-like smart speaker, Itza,  starts talking to someone who isn’t there, ordering things they never bought from online retailers, and playing music at all hours of the night. When the couple looks into the history of their home, they discover that the previous tenant was a mysterious old woman, who just might have performed occult rituals there.

Tragedy strikes when Vera dies after being knocked down some stairs by a thief fleeing a crime scene at a subway station. A grief-stricken Thiago decides to leave Chicago and move into a remote cabin in Colorado. As you might imagine, this turns out to be a very bad decision. The supernatural forces which have taken hold of Thiago aren’t ready to let go, and his sanity begins to crack. His downward spiral continues, and the deep sense of loss he feels allows whatever entity is haunting him to gain a deeper hold. As things escalate, and darker and bloodier events occur, Thiago wonders if his own actions are the real cause of all the tragedy that he’s experienced. What is real, and what is imagined? Will he become a prisoner of the darkness inside his own mind? Will the cost be his soul, as well as his sanity?

This Thing Between Us is an eerie and unsettling tale, told by Thiago as he relates the story of the harrowing events that befell Vera and himself. It’s a powerful portrait of a marriage shattered by tragedy, and how loss can fracture our sense of self. Moreno also brings a cultural dimension to the story, as the criminal that causes Vera’s death is an illegal immigrant, and Thiago’s own family history has ties to the experience of being a stranger from across the border. The novel also raises the issue of just how intimately entwined we are with technology and social media these days, and how being so connected  to it can be both a blessing and a curse. There are some truly terrifying sequences in the Colorado portion of the story. Fans of Stephen King, H.P. Lovecraft and Arthur C. Clarke’s 2001: A Space Odyssey will notice some very clever homages to their work. The dark terrors experienced by Thiago have a deeply Lovecraftian element.

Moreno’s fine writing deftly escalates the sense psychological unease and impending doom felt by Thiago. While he’s the most well drawn figure in the book, it’s interesting to note how he relates to (and views) the other characters, especially Vera, and his mother in law, who becomes important  in the second half of the story. Is what we experience of the other characters less trustworthy because we view them through Thiago’s eyes? As a reader, you do feel a deep sense of sympathy for, and empathy with, Thiago. But could he be an unreliable narrator? Is the darkness calling to him, or was it within him all along? Once you finish this intense, disturbing and emotionally shattering novel, you’ll have to make up your own mind. One thing is for certain. Once you finish this chilling tale, you’ll never look at your Alexa the same way again.

Ken Sharp’s "I'll Remember The Laughter"

Ken Sharp is the gifted musician behind such excellent albums as Miniatures and 1301 Highland Avenue, and the author of a number of fine books about rock and roll, including Starting Over: The Making of John Lennon and Yoko Ono’s Double Fantasy and the Play On! Power Pop Heroes series. His latest record, I’ll Remember The Laughter, may just be his best work yet. The album features 50 tracks, which touch upon a number of musical styles, including power pop, glam rock, classic soul, 1960s style pop, 1970s rock and even a touch of folk.
 The songs feature a kaleidoscope of emotions, from joy, sadness, and the wistfulness of remembering times gone by, to loves lost (and found again) and the lasting power of true friendship.

The record kicks off with the marvelous “Maybe Next Summer,” which wouldn’t sound out of place on a classic Beach Boys record. The first disc also features the swirling, power pop-inspired “There Goes My Sanity” and “Lady Godiva” which sounds like a lost tune from Bread or America, circa early to mid 1970s, right down to the effervescent guitar work. Then there’s the gorgeous “Cracking This Heart Of Stone,” one of several tracks on the album where Sharp indulges his inner soul man. I think it’s one of the best songs he's ever written, and it’s a high water mark on an album that’s filled with brilliant tunes.

I’ll Remember The Laughter is bursting at the seams with a host of marvelous songs, including the 1960s garage rock style “Sock It To Me,” the gentle pop/rock swing of “42nd Street,” and the lovely, 1960s pop-infused “Baby It’s Just A Matter Of Time.” From the Raspberries-style power pop of “It Pays To Be A Rock and Roll Star,” to the guitar-oriented rock sound of “No More Silver Linings” and “Shut Out The Lights,” there are few pop, rock and soul genres that Sharp doesn’t masterfully (and successfully) tackle throughout the album’s expansive track list. There's even a tribute to the late Dennis Wilson of The Beach Boys on the sublime "Dennis."

I challenge you to listen to fantastic selections such as the joyously soulful “Philly Get Back,” the shimmering “Great Big Memphis Sky,” the California rock vibes of "Somewhere South of San Diego" and the awesome 1970s infused anthem “Wrote a Song For You,” without reaching for the replay button. In addition to the dazzling original compositions on the album, there are also several covers featured on I’ll Remember The Laughter, including a pop-tastic version of The Who’s classic “The Kids Are Alright,” an enchanting rendition of Davy Jones’ “Girl” and an outstanding interpretation of “Mr. Make Believe,” a track from Gene Simmons’ 1978 self-titled solo disc.

If that’s not enough to grab your attention, the disc also features Sharp taking on a pair of tunes from Rick Springfield’s 1973 disc Comic Book Heroes, the title track and “I’m Your Superman,” with Springfield himself providing backing vocals. Other guests on the album include Roger Manning of Jellyfish, as well as Rob Bonfiglio and Probyn Gregory, both of whom have toured with Brian Wilson. Co-produced by Sharp and Fernando Perdomo (who also appears on the disc), I’ll Remember The Laughter is a magnificent record that will bring great pleasure to rock, pop and soul fans with eclectic tastes and discerning eardrums.

You can find out more about this excellent album and sample the tracks over at https://kensharp.bandcamp.com/album/ill-remember-the-laughter. Here’s a link to the video for “Philly Get Back,” https://www.youtube.com/watch?v=U0ob1hHl9HA. I’ll Remember The Laughter is filled with splendid music, composed and performed from the heart. Ken Sharp’s deep love of rock, pop and soul is evident in every note on this superb record.

"The Pallbearers Club" is Heartbreaking Horror

 Paul Tremblay is one of the most versatile and talented  writers currently working in the horror genre. He’s written several outstanding novels (and some chilling and original short stories) over the last decade. His fans include the Master of Horror himself, Stephen King. Tremblay’s novel A Head Full of Ghosts is a terrifying (and startling) take on demonic possession, and his dark, emotionally devastating apocalyptic thriller Cabin at the End of the World is currently being adapted for the big screen by M. Night Shamalyan. Tremblay’s latest novel, The Pallbearers Club, is a unique variation on a vampire tale. The book is presented as the memoir of Art Barbara. Art is something of a nerd/outsider at school, and also suffers from some serious health issues. He decides to start a club whose members will appear at funerals when no friends or family members are present to mourn the person who has passed away. This “Pallbearers Club” brings Art into contact with a mysterious woman named Mercy. She becomes a central figure in Art’s life, and he becomes intrigued by the tale of a historical “vampire” who shares Mercy’s name, and may be her ancestor.

From the outset, Art is an unreliable narrator. He tells us almost immediately that “Art Barbara” is not his real name, and that the events of the novel are only told from his perspective, and that his memory may be faulty. The relationship between Art and Mercy is a symphony of emotional highs and lows, fueled by dark secrets. What’s brilliant about the way Tremblay tells this story is that Mercy’s comments and observations regarding Art’s memoir, which she continually refers to as a work of fiction, are written in the margins of the text. She underlines and emphasizes her frank opinions throughout the book. Mercy’s recollection of events doesn’t always line up with Art’s, and she tells a somewhat different version of their story with her commentary.

The book will also have appeal for devotees of 1980s and 1990s alternative rock. One thing that draws Art and Mercy together is music, particularly the albums of Husker Du, and the solo work of that band’s co-founder, Bob Mould. Mercy is something of a musical muse and mentor to Art, who becomes a musician during the course of the story. Music is a defining aspect of their friendship, as is Mercy’s hobby of using an old school Polaroid camera to take pictures. Mercy’s photography is a window to the things Art thinks he sees in her photos, and what they reveal about both Mercy and himself. Art’s fascination with Mercy’s photos, and his obsession with her true nature, fractures their friendship, and leads to some startling revelations by the end of the story.

The Pallbearers Club is part coming of age story, part vampire novel, and most of all, a moving and effective story of a deep and unusual friendship. While it’s not as overtly frightening as some of Tremblay’s other books, it does feature some eerie and unsettling scenes. What works best is the story's strong emotional core, which will touch (and maybe even break) your heart, especially in its finale. If you’ve enjoyed his other work, including A Head Full of Ghosts, Survivor Song, and the outstanding short story collection Growing Things, you'll find much to enjoy in this enthralling novel. The Pallbearers Club is one of Tremblay's best, and is worth adding to your "must read" list.

 

Retro TV: Revisiting the "Night Gallery"

Rod Serling is perhaps best known these days for creating, writing the lion’s share of scripts for, and hosting The Twilight Zone. Serling was involved with another series that showcased tales of horror, science-fiction and fantasy, which is fondly remembered by many genre TV fans. Night Gallery ran for three seasons on NBC in the early 1970s, following a pilot film which aired in 1969. The Night Gallery TV movie featured three tales of terror, all penned by Serling. The second segment of the pilot, entitled “Eyes,” starred Joan Crawford and Tom Bosley, and was the directorial debut of a young man named Steven Spielberg. The pilot was well-received, and during the 1970-71 TV season, Night Gallery premiered as part of a rotating group of shows called Four In One. Night Gallery’s hour-long episodes contained several segments of varying lengths. Serling hosted the series, standing in an art gallery, where he would refer to paintings (beautifully crafted by artist Tom Wright) which tied into the stories which aired that evening. In addition to the uncanny paintings rendered by Wright, the eerie theme music by Gil Melle helped add to the otherworldly atmosphere of the series. In its freshman year, Night Gallery offered episodes featuring Twilight Zone veterans Burgess Meredith, Agnes Moorehead and William Windom in memorable roles, and also also included appearances by Larry Hagman, Joanna Pettet, Diane Keaton, Phyllis Diller and John Colicos. 

Night Gallery generally leaned more into the horror and fantasy genres than science-fiction, and many of its best-remembered episodes were the ones that were genuinely eerie. These frightening entries included “The Doll,” an adaptation of a short story by Algernon Blackwood, and “Camera Obscura,” based on a story by Basil Copper. Serling wrote a number of original episodes for the series throughout its run, such as “Lone Survivor” and “Class of ‘99” and also contributed adaptations of classic tales by H.P. Lovecraft and Davis Grubb. A number of talented directors worked on the show, including John Badham, Jeannot Szwarc and John Newland. During its second season, Night Gallery, now airing as a standalone series, began including brief segments sandwiched between the longer stories. These “blackout” vignettes were often comedic in tone, and were the brainchild of producer Jack Laird. Serling clashed with Laird over them, as the writer-host felt their often lowbrow humor didn’t fit the overall style of the show. However, Serling didn’t have the kind of creative control on Night Gallery that he’d enjoyed on The Twilight Zone, so he had little say in the matter. For its third and final season, the series was cut to a half hour in length, though it still managed to offer some solid episodes, including “The Girl With The Hungry Eyes” based on the classic story by Fritz Lieber.
 
When Night Gallery entered syndication, the content of the show was drastically altered. The series was syndicated in a half hour format, so the longer segments from the first two seasons were cut to fit thirty minutes including commercials, while the shorter ones were expanded by adding unrelated stock footage, or by repeating shots and sequences, thus padding them out to the necessary length. Night Gallery only aired 43 episodes during its run, so in order to create the number of entries required to sell the series for syndication, Universal added episodes of the short-lived, hour long series The Sixth Sense, starring Gary Collins as an investigator of psychic phenomena, to the syndication package. The Sixth Sense episodes were severely edited to fit the half hour format, and Serling was brought in to film new introductions for them. For many years, Night Gallery could only be seen in these re-edited and re-worked versions, which diluted the impact of the best episodes of the series.
 
In a move that should delight fans of the show, Kino Lorber video is now issuing the series on Blu-ray. The first season set (which includes the pilot film) was made available last year, and the second season has just been released. These beautifully remastered editions feature insightful and compelling commentaries on every episode by genre experts like Tim Lucas, Kim Newman, and Amanda Reyes as well as filmmakers such as Guillermo Del Toro. There are also featurettes included which explain how the series was altered for syndication, a look at the paintings showcased in the show, and a retrospective on the series featuring interviews with guest stars and crew members. If you remember watching Night Gallery on TV in the 1970’s, and are a devoted fan of the series, as I am, these terrific Blu-ray sets will warm (or is that chill?) your heart. They’re highly recommended. Here’s a promo created for the series when it aired on the cable channel Mystery: https://www.youtube.com/watch?v=PtM3jBTOnO0.

"Ride The Pink Horse" Into Noir Territory

Robert Montgomery, Wanda Hendrix and Thomas Gomez

Robert Montgomery was a talented actor who was as adept at dramatic parts as he was at the comedic roles that initially made him a star. He also had a strong interest in working behind the scenes in films. Montgomery made his debut behind the camera with Lady in the Lake (1947) an adaptation of Raymond Chandler's novel. The movie was unique for its time, telling the story via the perspective of the lead character, detective Philip Marlowe (played by Montgomery) who is never seen on screen, except for a couple of brief sequences. His second directorial effort, Ride The Pink Horse (1947), is an intriguing, offbeat, and very effective noir tale. The story begins when a disillusioned WWII veteran named Gagin (portrayed by Montgomery) shows up in San Pablo, a small New Mexico town. He's looking for a mobster named Frank Hugo. Gagin is seeking revenge for a friend's murder, and has a plan that involves blackmailing Hugo.

Gagin has arrived during the town's annual fiesta. He's having trouble finding a hotel room until a local girl named Pila helps him locate one. As he hatches his scheme to take down Hugo, he's befriended by Pila and also the ebullient Pancho, who operates the town's carousel. But as often happens in the noir world, things spiral in ways that he doesn't expect. He crosses paths with a Federal agent named Retz, who's also after Hugo, and warns Gagin to stay away from the gangster. Gagin also meets Marjorie, Hugo's girlfriend, who entices him to alter his plan to include her. Gagin then has to contend with both Hugo and Marjorie, who in true femme fatale fashion, isn't all she seems to be. Is Hugo one step ahead of Gagin? Just whose side is Retz on? Is Gagin out to get justice for his friend, or obtain himself a big payday via his blackmail scheme? Will Pilar and Pancho help him escape this web of deceit and double crosses? 

The movie features exquisite cinematography by Russell Metty, who worked on two well-regarded Orson Welles films, The Stranger and Touch of Evil. There's a particularly striking sequence late in the movie when a wounded and disoriented Gagin wanders around the fiesta, trying to get his bearings. The performances are strong; Montgomery deftly conveys Gagin's sense of weariness and isolation, and his struggle to understand the different world in which he finds himself after the war. Wanda Hendrix is wonderful as Pila. The character isn't portrayed as the typical "young girl in love with an older man" part found in many stories of this type. She becomes a friend and guardian angel to Gagin. Pila's optimism and faith is nicely contrasted against Gagin's cynicism. Thomas Gomez (who was nominated for a Best Supporting Actor Oscar) also moves past stereotype and portrays Pancho as a three dimensional character. Fred Clark is appropriately oily as Frank Hugo. Art Smith as Retz and Andrea King as the double-crossing Marjorie are also quite good in their roles.

The film was produced by Joan Harrison, who is best known for her work with Alfred Hitchcock, both for the big screen and on television. The screenplay is by Ben Hecht and Charles Lederer, based on a book by Dorothy Hughes. Hughes also wrote the novel which served as the basis for the classic Humphrey Bogart noir, In a Lonely Place, directed by Nicholas Ray. Ride The Pink Horse is often screened on Turner Classic Movies and other cable movie channels. There is also a fantastic Blu-ray edition of the film released in 2015 by the Criterion Collection, which includes an insightful audio commentary by noir experts by Alain Silver and James Ursini. Ride The Pink Horse features a compelling story in an unusual setting, great cinematography, and some fine performances, all anchored by excellent direction from star Robert Montgomery. It's one of my favorite noir films, an opinion shared by rocker Steven Van Zandt, who gave a shout out to the movie when he profiled Montgomery on a recent edition of his Sirius XM series, Little Steven's Underground Garage. Here's a link to the trailer for the film: https://www.youtube.com/watch?v=nVcdFIWT6zA.