...:::Tykes in Trouble:::...

I recently posted in our comments section about how the 1982 television movie DON’T GO TO SLEEP is currently up and running on YouTube… but that’s just not enough! I have to urge you guys on our front page to try to check it out this weekend. You just never know when something like this will get pulled and you may not get another chance to see it again outside of expensive, unreliable bootlegs. This movie comes highly recommended not only by the two person staff of Kindertrauma, but also by the queen of T.V. movies herself, Amanda By Night of MADE FOR TV MAYHEM!

DON’T GO TO SLEEP stars VALERIE HARPER (NIGHT TERROR), DENNIS WEAVER (DUEL), RUTH GORDON (ROSEMARY’S BABY) and OLIVER ROBINS (of POLTERGEIST fame.) It’s the story of a little girl who comes back from the dead to convince her living sister to avenge her and it kind of rules on a zillion levels. It’s a classic television movie that lifts from the popular slasher films of its day and it’s pretty creepy, slightly campy and a must see for those who dig that sort of thing.

After you’ve seen it, use this post’s comments section as a forum to talk about it. If you are a fellow blogger, write a review and send us a link to it!

C’mon, it’s too hot to go out and see PREDATORS! The first part is posted below. Click on the YouTube logo on the bottom of the right corner and it will take you to the rest! If you’d like to recreate that long lost feeling of staying up late and watching good horror on T.V., I can’t think of a better way to start than with DON’T GO TO SLEEP. So come on kids, start not going to sleep now!

NOTE: Thanks to the awesome French blog VIDEOTOPSY for the archival TV GUIDE ad above and cool DR. GOREMAN for the press kit photo below.

[Read more →]

When I was little I came across the 1940 SHIRLEY TEMPLE movie THE BLUE BIRD several times on television. It’s sort of the poor man’s THE WIZARD OF OZ with SHIRLEY playing the part of a girl named Mytyl who along with her brother Tytyl embarks on a journey through the past and future searching for happiness in the form of the title bird. The children are aided by their dog Tylo and their cat Tylette, who thanks to some fairy magic, have taken human form.

Based on a 1908 play by MAURICE MAETERLINCK, there’s plenty to find alarming about THE BLUE BIRD. The children’s journey begins in a vast graveyard, their dead grandparents show up to pelt them with guilt, trees transform into vigilantes and finally they end up in some weird limbo place where unborn children in togas howl and cry about how short their time on Earth will be. Personally I was unmoved by any and all of the insanity on display except the unfortunate and fiery death of my favorite character, the cat lady Tylette.

As I watched THE BLUE BIRD again recently as an adult I can see that much of it flew over my head as a kid, most notably the fact that Tylette the cat is clearly drawn as a sinister, mischievous presence and that her demise is meant to be somewhat deserved. Was there something wrong with me as a kid that I would automatically gravitate toward this malevolent malcontent? Before you judge, look at how awesome she is…

To be honest, even as an adult I have sympathy for this devil. She knows that if the children were to discover the blue bird of happiness that she would have to revert back to her former self and remain a “dumb slave to man” forever. So what if a couple tykes have to die in order for her to remain master of her own fate? Let’s face it; with names like Mytyl and Tytyl, those kids were bound for hard times anyway.

Tylette is brought to life by Oscar-winner GALE SONDERGAARD, who would go on to appear in several UNIVERSAL horror films like THE BLACK CAT (1941), THE SPIDER WOMAN (1944) and THE SPIDER WOMAN RETURNS (1946) (in which, again, GALE’s death is caused by fire.) She was originally cast as the wicked witch in THE WIZARD OF OZ who was first conceived as a sinister glamour-puss similar to the evil queen in Disney’s SNOW WHITE. When it was decided that a more haggard version of the witch was the way to go, GALE split and in came MARGARET HAMILTON. (HAMILTON nearly abandoned WIZARD herself when her costume caught fire and she was severely burned.) SODDENGAARD’s career was seriously hampered when her husband, director HERBERT BIBERMAN, was accused of being a communist during the infamous red scare of the early ‘50s; she died in 1985

You know, as unhappy as I may still be with Tylette’s fiery fate, there’s no way around the fact that her death is the most exciting part of the film. In fact, the movie kind of looses its steam as soon as she departs. I know we are meant to learn from this tale that happiness can only be found at home but if you ask me, without an evil, self-serving sociopath like Tylette to share it with, happiness is for the birds.

CREEPY NOTE: During the filming of THE BLUE BIRD four year old actress CARYLL ANN EKELUND was burned to death off set when her birthday dress (or Halloween costume, depending on your source) caught on fire. She was buried in the clothes she wore in the film.

ALSO: I feel I should warn you that THE BLUE BIRD was made into a musical in 1976 starring JANE FONDA, ELIZABETH TAYLOR and a tiny PATSY KENSIT as Mytyl. Believe it or not, this American, Soviet Union co-production was directed by legendary director GEORGE CUKOR. It could very well be one of the worst movies of all time and masochists can find it on Youtube. In this version, Tylette is portrayed by CICELY TYSON. CUCKOR accused TYSON of using voodoo to curse the film.

MORE CREEPY: No joke, I was in a thrift store yesterday and this song was playing on the loudspeaker…(yes, I’ve double checked the smoke alarms)

[Read more →]

I love JACK KETCHUM, he scares the hell out me and once opened, you’d need a crowbar to pry one of his books out of my hands. OFFSPRING, scripted by KETCHUM himself, is based upon the literary sequel to his inaugural terrorizer OFF SEASON. If you’re wondering why we’re being presented with an adaptation of a sequel before its predecessor, as with many movie head scratchers, it involves a behind the scenes legal issue of some sort. No matter, OFFSPRING works just as well as a standalone story. In fact, the skeletal plot shadows the original tale closely. Basically you have a group of civilized folks battling off a tribe of attacking feral cannibals. An ex-cop is brought in to aid the police and a bloody climax takes place in the cave dwelling of the snarly savages.

On the page KETCHUM can convince you of anything, but OFFSPRING, as a film, has a much steeper hill to climb. Even though I have to admit to being vaguely freaked during some scenes (particularly during the first major attack on the film’s happy family) there’s a great deal here that fails to persuade. I like to think of myself as pretty adept at forgiving a film its budgetary restrictions, but the cave here looks borrowed from SIGMUND AND THE SEA MONSTERS and unfortunately (thanks to Aunt John’s tutelage) I now know a bad wig when I see one. Trust me, the wild marauders depicted are truly disturbing in their actions but, much like in the case of the now dated original THE HILLS HAVE EYES, it’s difficult to always take the grunting, blackened-toothed actors in loin clothes seriously.

Lovers of raw, depraved cinema may find scraps to gnaw on here and I appreciate the sparse approach, especially in terms of the films soundtrack. Still, the lack of credibility remains a major roadblock. The reality is, bringing KETCHUM’s vicious vision unadulterated to the screen is probably not only impossible but also illegal. Where say, THE GIRL NEXT DOOR made up for its cinematic limitations by concentrating on tone and performances, OFFSPRING, by nature, hasn’t quite the same option. Director ANDREW VAN DEN HOUTEN (HEADSPACE) can’t really be faulted for going straight for the jugular but without a believably solid rack to hang his entrails on, it’s an empty gesture. OFFSPRING has disturbing moments for sure (how else can you describe an infant thrown like a football?), but mostly it just feels routinely (and too often, humorously)…off.

[Read more →]

In 1982 audiences across the globe cried like big babies because they didn’t get their Michael Myers rattle in HALLOWEEN 3: SEASON OF THE WITCH. Talk about pearls before swine, a critical and commercial failure, H3, or as I like to call it “The non-stop genius show” was considered the redheaded step child, black sheep, blighted pimple of the HALLOWEEN franchise for years. When H3 walked down the streets of town, spinsters called it a floozy and spit on its shoes. Thankfully one day everyone everywhere decided to stop smoking crack and woke up to the obvious slice of perfection before them and declared HALLOWEEN 3: SEASON OF THE WITCH the greatest robot-infested, killer mask thriller that involves a stolen rock from Stonehenge that TOM ATKINS has ever starred in and an unmitigated holiday classic for all eternity. Nice job catching up dum-dums!

HALLOWEEN 3 knows how great it is, but it’s not stuck up like some other sequels (get over yourselves TROLL 2 and LEPRECHAUN 4: IN SPACE!) The reason it works as well as it does may be because it is respectful enough to honor many of the holiday classics that came before it, particularly the untouchable RANKIN AND BASS cannon. Hear me now and believe me never, I’ve compiled the evidence and I almost know what I’m talking about. Below are some instances of suspicious overlapping that will make even the most credulous among you go hmmm, like you’re at a C+C MUSIC FACTORY concert…

EVIL OLD BASTARDS!
Be it Conal Cochran or Burgermeister Meisterburger, one thing’s for sure, old rich white dudes with nothing but time on their hands want to rain on your parade. These guys hate holidays of all kinds because they promote joy and laziness amongst the masses.

SUFFER THE CHILDREN!
Our world’s innocent children are always the targets in these nefarious schemes! I’m not sure what is worse, taking a child’s toy away from them or making their head explode into a seething mass of snakes and vermin by way of vague witchery that incorporates Halloween masks, television signals and stone shavings from Stonehenge, but both sound like they would be about as appealing to a kid as a McDonald’s Salad Shaker.

CAPITALSM: A LOVE STORY
Putting aside children’s general unhappiness and/or mass annihilation, just think of what the absence of holidays would do to our struggling economy! Granted if Cochran’s plan were to come to pass, insecticides and snake trap sales would go through the roof, but only at the expense of the bankruptcy of Ferra Pan.

TOWNSPEOPLE ARE PARANOID AND NOSY!
In some cases they are fearful of strangers wearing bright red outfits and in other cases they are rightfully curious about what’s going on in that motel room between that old guy and that young chippy that could be his daughter.

NEVER TOO BUSY FOR HITTIN’ BOOTS
Everyone with awe inspiring facial hair knows that when the going gets tough, the tough get busy and by busy I mean, (insert gross sexual euphemism of your choice here) wink-wink, nudge-nudge or as the audience on FAMILY MATTERS says “Woooooooooo!”

CLOCKWORK MINIONS!
With the possible exceptions of Hitler and RACHAEL RAY, most obvious embodiments of evil have a hard time finding gullible yes men to do their bidding. Enter robots; robots do what you tell them to do and you never have to thank them or worry about unionization.

THE HERO IS CAPTURED!
Well, at least one of these guys gets to watch the original HALLOWEEN during entrapment.

EVIL HEADGEAR
A talking Easter bonnet or a booby-trapped Halloween mask; who’s to say which is more foul and diabolical?

BRAIN NUMBING TUNES!
What better way to get an audience to remember you than cramming a torturously repetitive song into their heads?

STILL NOT CONVINCED?
Neither am I, so here’s a shot of Mrs. Claus with her face blasted by a laser beam and a bug crawling out of her mouth!

[Read more →]

I admit to being completely turned off by the derivative box art for THE HILLS RUN RED, but from what I had gleaned from various sources the movie was not your typical Johnny-stab-lately. Indeed, although HILLS RUN RED could never be mistaken for top tier horror it has much to distinguish itself from the ranks of your typical straight to DVD muck. Don’t get me wrong, this jam is straight from the taco truck, the ingredients are cheapo and it’s not very pleasing to the eye, but for those with a hankering for something quick and filling with a bit of a spicy kick, it hits the spot.

Do you know what doesn’t cost anything? Having an interesting plot. THE HILLS RUN RED gets an instant leg up on its peers with its intriguing premise concerning a long lost eighties slasher flick and the lengths one cinemaphile will go to in order to track it down. Any horror movie fan who remembers the days before the Internet will recall just how elusive some of the lesser known jewels used to be. I couldn’t help feeling an instant sense of recognition with our main leads quest and got a nerd-on every time a faux poster or trailer for the fictional Holy Grail horror flick was shown.

Not that anybody needs to be getting their STREEP on in a film like this but the acting, borderline horrible in the first half of the film, becomes surprisingly good when situations require it. Perhaps the late in the game appearance of Mr. Awesome WILLIAM SADLER inspired the green pups. (Careful Mr. SADLER, you are approaching DOURIF/HENRICKSON territory in my heart.) By film’s end I was satisfied having gotten the “lost in the woods with a maniac” scenario I had ordered and then thankfully so much more. (Not to ruin anything, but I am a sucker for flicks that are kind enough to include an audience of corpses in the climax.)

Perhaps most importantly in a film of this kind is the fact that the killer “Baby face” works as a formidable threat and kudos to director DAVE PARKER for not being all stingy with his boogeyman. Gore hounds have a rare reason to rejoice as well, the murders depicted are for the most part gloriously old school and put many a recent slasher remake to shame. The over-the-top cartoon violence fun only wanes when the slasher tributes end and the more modern torture procedural is momentarily adopted.

For the most part, THE HILLS RUN RED’s weakest aspects tend to work in its favor. I’m sure if you are of the mind to enjoy the gore, the nudity and the monstrous hulk known as “Baby face” that you have shuffled your way through much more inept excursions than this. I wouldn’t be dusting off the mantel for too many awards if I was DAVE PARKER, but I would be patting myself on the back for delivering a fitting and surprisingly substantial addition the backwoods slasher sub genre.

[Read more →]

Believe the hype, ignore the backlash, the long awaited TRICK ‘R TREAT is definitely more treat than trick. Not only standing tall as an unabashed love letter to everybody’s favorite holiday, this movie succeeds as an ode to anthology films, horror comics and a twisted yet less cynical sensibility all but forgotten. If you’re a fan of eighties horror and have been missing the goofy dark fun of films like FRIGHT NIGHT, NIGHT OF THE CREEPS or especially CREEPSHOW, I guarantee you are going to gobble this up. It’s scary without being nauseating, funny without being brain dead and overall works like an injection of candy corn right into your veins. Sometime between now and the 31st of October do yourself a solid and rent or buy this film. If TRICK ‘R TREAT doesn’t get you in the Halloween spirit then frankly, you are a lost cause and deserve whatever egging, T.P.ing or flaming crap filled paper bag you find on your doorstep.

I won’t go into the whys and why nots of this films history. Most of you are probably aware that it missed a chance at a theatrical run and has wound up as a direct to DVD offering instead. Truth is, I’m not sure that modern audiences even deserve this kind of movie anyway. It’s beautifully shot, having no interest in looking sewer doused, characters are not required to be humiliated before death and at no point did I feel like somebody was trying to sell me a cell phone, a pair of jeans or a can of soda. If you’ve been waiting for the scariest movie ever made, keep waiting, this is more about that crisp creepy breeze that blows into town in autumn and the anticipation and excitement that occurs when darkness falls. It’s not a nail-biting ordeal; it’s a joyful, yet sometimes potently subversive salute to the convivial side of the macabre.

Remarkably director/writer MICHAEL DOUGHERTY has captured the spirit of All Hallow’s Eve like a bat in a fishing net, a feat made more impressive when you consider how many have failed at that task before him. Rather than compartmentalize his tales, he allows them to weave and interact and the result is rather innovative in the realm of anthology horror. This is obviously a work of love and it shows and although its final moments could have used a little extra punch, there are few things to complain about here. Maybe I’m suddenly old fashioned or maybe this film just falls right in line with my own tastes, but one thing is for sure, there’s no doubt I’ll to be watching TRICK ‘R TREAT every October (along with my other holiday standbys) till that old grim reaper comes and tears me away.

[Read more →]

Underrated and unpretentious KEVIN BACON plays underrated and unpretentious working stiff Tom Witzkey in STIR OF ECHOES. Tom, an ordinary guy who resents his ordinariness inadvertently becomes extraordinary when he allows himself to be hypnotized by his sister-in-law Lisa (habitual scene stealer ILLEANA DOUGLAS). Quirky Lisa has a long history of clashing with Tom’s grounded, prosaic view of the universe so after rummaging around in his head a bit she leaves a suggestion that he keep it all kinds of wide open in the future. Soon the once level headed and under stimulated Tom is exposing emotions previously kept under wraps and experiencing psychic phenomenon that he can’t control or understand. See what happens when you let down your guard for one second Tom? The ghosts, they come a knocking!

STIR OF ECHOES is an unassuming, straight shooting supernatural thriller that got elbowed out of the limelight by flashy juggernaut THE SIXTH SENSE way back in the olden days of 1999. STIR covers similar ground as SENSE involving a crime that must be exposed in order for its victim to cross over to the other side and it even has a kid (Tom’s son Jake ZACHARY DAVID COPE) who sees dead people. With its focus on character development and aversion to spectacle perhaps STIR, based on a novel by RICHARD MATHESON, would have been better suited for the small screen in the first place. Its strongest scenes rely on slightly tweaking everyday occurrences and its weakest involve needless C.G.I. and clumsily staged shock cuts.

On the other hand, STIR OF ECHOES the movie may suffer from the same complex as its main character; sometimes its commitment to efficiency blocks it from being truly spectacular. You can’t help feeling obliged to give it props for its earnest, responsible approach, but one wonders (particularly during a simple scene involving a ghost high jacking an episode of LIDSVILLE on T.V.) just how much more trippy and mind screwy it could have been if it just loosened up its blue collar and went nuts.

One of STIR’s undeniable feats is creating a neighborhood setting that actually comes across as real and inhabiting it with the type of humans that you might come across on any given day. I’m not sure throwing a pair of horned rim glasses on a lovely starlet (JENNIFER MORRISON) convinces me that she is a mentally challenged loner, but the intention is appreciated and that particular misstep happens late in the game. There are a few pointless pit stops and our ghost’s methods of getting her message across seem needlessly roundabout but the story is never less than intriguing and even if you see its final revelation coming from a mile away, you’ll want to stick around to watch how it effects the likable characters.

NOTE: Speaking of letting your freak flag fly, the potential expressive power of art and the film career of ILLEANA DOUGLAS, let’s take a moment to watch the short film MIRROR, FATHER, MIRROR by artist Roberta Allsworth. Not only does it reveal what it’s like to inhabit its creator’s specific skin, it’s got kindertrauma written all over it!

[Read more →]

May’s got some serious social problems; her desire to connect with others is at such a fever pitch that her needy frequency just ends up scaring folks away. What is it that could make a creative, smart, adorably attractive young lady like May a jittery, mumbling, palm-raping, cat assassinating, Shleprockian outsider with a romantic track record to rival Pepe Lepew? Why, it’s just gots to be kindertrauma! You heard that right, kindertrauma; the flavor you savor for life!

At the beginning of LUCKY MCGEE’s ode to Frankenstein, laundromats and hobo patches, we learn that as a child, titular character May (a stitching her way into legendary status ANGELA BETTIS) didn’t quite fit in with her peers. Before you say “Take a number, sister,” let me inform you that poor little mini-May (CHANDLER RILEY HECHT) had to wear a pirate patch on account of her eye being lazier than a Sunday morning hammock ride. Worse yet, her mom was one of those type “A” personalities — care to guess what “A” stands for? — always singing the praises of “perfection,” a word that should never be used unless you are talking about a pop-up puzzle game from Milton Bradley.

Mom tells little May “If you can’t find a friend, make one,” and presents her with a handmade doll on her birthday. This gesture might have been sweet if mom didn’t also inform May that the doll must never be touched and must be kept in a glass box forever. Although Suzy the doll does make a grand pal for the most part, May’s lifelong frustration with never being able to touch or feel her friend echoes her social discomfort and has a ripple effect that eventually results in a lot of BREEDERS music being played and ANNA FARRIS getting her throat slashed by duel scalpels.

As is often the fates’ hilarious sense of humor, the time period before adult May’s spiral into the abyss of howling madness and multiple homicides is that of rejuvenation and hope. After May has her eye fixed it seems all her childhood traumas are fixed too. She now has a new lease on life and is excited to share herself with others in a way previously thought impossible. Adam (SIX FEET UNDER’s JEREMY SISTO) appears to be the perfect dream date, what with all his curly dark locks and admiration for ARGENTO. As it turns out though, Adam only likes to make movies about people biting each other, he doesn’t like to be bitten so much himself, and when May tries to connect with him on what she perceives as his own level, she ends up with egg (and blood) on her face.

Don’t fret May! There are other guys out there and besides who cares about dudes when Polly (ANNA FARRIS) is barking up your tree? Polly ain’t a poseur, she won’t sweat a bite or two, but look out May, she’s not a one woman lady either! Broken hearted and scorned from every angle, May makes the only choice anyone ever can in such a situation and decides to chop off the good parts of those that torment her, scrap the crappy parts, sew all that junk together and make a decent person who can give a gal a break; but not before causing a bit of kindertrauma herself…

Sufferers of childhood trauma here’s a cure for what ails ya… cause some trauma your own darn self! Sometime before our May has her, “Ah-hah, I’ll just kill everybody!” moment (something that would never be approved of by OPRAH) she passes the kindertrauma baton on to a bunch of unsuspecting tykes. Having spied some blind children in her favorite park and feeling an affinity with their reliance on the act of touching in order to see, May volunteers at their school, and decides to introduce them to her BFF Suzy the doll. Only problem is, Suzy is behind glass so the kids can’t check her out at all, attempts to do so result in her case smashing on the floor and the children groping around in broken glass with bleeding fingers in an attempt to “see” her. (I gotta hand it to Suzy; for a doll that is not possessed, doesn’t carry a weapon and never becomes animated in anyway, she sure causes a ruckus!) Luckily, MAY has a happy ending where death and insanity grab the reigns of reality and yell “Giddy-up!” Poor May’s ordeal might be over, but just think of the stories those blind kids will be able to tell!

[Read more →]

If W.C. FIELDS was known for his reluctance to working with kids and animals, then there should be a list of actors that both child and four-legged performers should avoid at all costs. Based solely on her less than subtle performance in MOMMY, and I do mean that in the nicest was possible, PATTY McCORMACK tops my short list of actors children should not work with. On paper, MOMMY loosely reads like an imaginary sequel to McCORMACK’s most infamous work THE BAD SEED. Imagine if little Rhoda Penmark grew up, spawned a tow-headed daughter, became an alpha-Mom, and left a body count in her wake when said daughter Jessica Ann (the completely overwhelmed and out of her league RACHEL LEMIEUX) is overlooked for student of the year. In actuality though, MOMMY has too much working against it to rightfully be considered the heir apparent to the BAD SEED.

For starters, you know something is terribly wrong with a movie when you can barely hear the lead child actress mumble over the score. The omnipresent music in MOMMY takes on a life of its own and drowns out just about everyone except for McCORMACK who belts out every line like she is performing for the back row in a theatre production. I know the budget on this one was paltry, but surely there was a boom mike on set. Dial it down a notch PATTY! Taking the opposite approach is JASON MILLER (THE EXORCIST’s Father Karras) as the chain-smoking Lieutenant March hot on the heels of our murderous matriarch. Self-aware enough to realize that this vehicle is beneath his esteemed horror pedigree, his boredom is palpable.

Had MOMMY played it for laughs, like JOHN WATERS’ SERIAL MOM, it could be a contender as a camp classic. It features cameos by MAJEL BARRETT, the “First Lady” of STAR TREK and crime writer MICKEY SPILLANE, as well as undisputed B-Queen BRINKE STEVENS as the oddly eye-browed Aunt Beth. Not even this troika, bolstered by MILLER, can wrestle MOMMY away from McCORMACK. It’s ultimately her showcase, albeit a sorely disappointing one. Both she and the legacy of Rhoda Penmark both deserve much better.

[Read more →]

Oh THE BROOD, how I love thee. Is there any better horror film for Mother’s Day than THE BROOD? Is there any better horror film for any day than THE BROOD? From Kindertrauma’s inception, we’ve always felt a keen bond with this CRONENBERG masterpiece. Here is a film that deals with two of our favorite pet themes, “Tykes in Trouble” and “Kids Who Kill” (albeit mutant kids) and although we’ve mentioned it in numerous posts, we’ve yet to really stop and give it the proper attention it deserves. Why? Because I have been way too scared to. THE BROOD, like much of CRONENBERG’s work, is just so damn interesting on so many levels that it has always attracted absolutely fascinating discussions from minds much sharper than my own. How could little old me objectively examine something so grand when my gut instinct is to just bow down and kiss its feet? I guess I’m just going to have to man up because we need a proper THE BROOD post up in here and it’s not going to write itself. So here goes kids, I’m throwing my propeller beanie into the ring…

ART HINDLE plays Frank Carveth a guy with many an issue, the least of which is the fact that he seems to own only one pair of corduroys. Frank discovers wounds on his young daughter Candace’s back and suspects that they came courtesy of his strange, estranged and partially deranged ginger-ex Nola (perfectly cast hand grenade in a housecoat SAMANTHA EGGAR.) At the time Nola is undergoing unconventional therapy in a safe trap house called the Somafree Clinic, and any question as to whether this treatment will be beneficial is answered by the fact that Nola’s Doctor, Hal Raglan, is portrayed by a tightly coiled ham sandwich named OLIVER REED. We follow Frank as he learns that there is a hideous side effect to Raglan’s cutting edge work. Raglan’s patients’ pain, once drudged to the surface, manifest into physical form. In Nola’s case, troll like beast children are spawned and are set out into the world to express her rage mostly by smashing people on her shit-list in the face with blunt objects.

It might all sound a tad silly, but in CRONENBERG’s hands (or should I say through his mind?) it ends up saying more about the human condition (and family dysfunction in particular) than all the hand wringing dramas you can think of combined. Inspired by CRONENBERG’s own strenuous divorce, there is real venomous acrimony here. Some (including the director himself) claim THE BROOD is his answer to KRAMER VS. KRAMER, and if it is, than his “answer” is a smack of a wooden meat mallet to each Kramer’s skull with perhaps an extra little whack for the Mrs. As worthy as THE BROOD’s concepts about how the mind affects the body are, the larger truth unearthed involves how abuse lingers from generation to generation in a family like an unshakable hereditary disease. Now that I think about it, maybe both ideas are as compatible as broken vases and black eyes.

A funny thing happened on the way to the forum. While doing a little background reading on THE BROOD (yes, I was wearing bifocals) I came across, I’m sure a very well meaning person, who was outraged by a particular scene in the film. In the scene (which was built to disturb and therefore must be considered successful) a woman is savagely (and some say hilariously) bludgeoned to death in front of a group of young school children. The disgruntled viewer was upset that such a scene would ever be filmed with children present. I personally assume that precautions were taken like, I don’t know, telling the kids that they were filming a movie or perhaps editing things in such a way, but something about this person’s indignant tone stuck in my craw. It seems to me that a lot of adults spend a lot of time worrying about what children witness on television or in movies (as well they should), but not so much time worrying about what behavior they witness in their own homes. This might sound off topic, but I think that it is partially what THE BROOD is about, the lingering effects of witnessing domestic abuse (physical, verbal and psychological) and the curse of absorbing your elders’ insecurities and prejudices (not to mention, rage). Violence on the T.V. is scary (check out this site called kindertrauma…) but sometimes mom and dad and grandma and grandpa leave real lasting wounds that you can’t simply turn off with the flick of a switch.

Was that a soapbox I just stepped off of? I apologize, but as I said I cannot even pretend to critique THE BROOD; the movie is just too damn awesome and over my head. In order to leave on a positive note though, I will add this, the score, (the first of many done for CRONENBERG by HOWARD SHORE) is so incredibly perfect that it makes you want to slap someone.

[Read more →]