Film Comment: Summer of Fear

Summer of Fear, the somewhat misleading title of this 1996 made for television movie, gives the viewer no idea of what is about to happen. When you think you know what is going on, you don’t. The story does not actually produce fear in the viewer but more of an anticipation of what is about to happen, since you soon realize that something is not quite right with Simon. People expecting “blood and guts” have called it “too tame to be a thriller.” Admittedly, this is not an Oscar winning film. It is more like a film one would expect from the Lifetime Movie Network. (The film should not be confused with the more intense 1978 Wes Craven film, also titled Summer of Fear. Both films are based on the novel, Simon Says.)

Echo Bridge Home Entertainment posted this plot synopsis on the Internet Movie Database (IMDB.com):  “When Lucas Marshall and his family are attacked en route to their summer vacation, a passing drifter comes to their rescue. But soon after being welcomed into their home, the stranger engages the family in a treacherous game of deceit and manipulation, forcing them to realize that his encounter with them was no accident.” The film features several television actors who were once quite ubiquitous on television but who now are seldom seen.

Lucas (Gregory Harrison), a city-living middle class businessman, inherits his aunt’s summer home in a small town. While he and his family are traveling to the home for a summer of relaxation and home remodeling, they are carjacked by two thugs. The men seriously damage Lucas’ foot and ankle and he watches helplessly as they sexually molest his wife.

The only thing which prevents the men from raping the wife (Glynnis O’Connor) is the arrival of Simon (Corin Nemec), a local teenager, who chases the men away with his shotgun. The shotgun turns out to actually be just a large walking stick. Simon is a very resourceful and talented young man.

Gratefully, the family invites Simon to the summer home for a day. Soon, Simon is using their boat, fixing the malfunctioning clothes dryer, cleaning the house’s gutters, wooing the the teenaged daughter, becoming a buddy to the young pre-teen son, and, eventually, successfully seducing the mother. Simon is clearly in charge, taking over the family from the loving but ineffectual father and husband.

This is a story of deceit, guilt, psychological horror, hints of incest, anger, resentment, adultery, and a very dark, long-hidden secret seeking a resolution. It is an example of how “the sins of the fathers” can come back to haunt the children for generations to come.

Lucas ends the dangerous situation non-violently by bravely telling the truth. In the effort, he finally wins the respect of his family. He also seems to have finally come to respect himself.

Though this movie presents itself as a horror film, it ultimately is a drama about a disturbed family. Very prominent themes are personal responsibility, the destructiveness of keeping “secrets,” the generational effects of hatred and revenge, and the redemption which can come from “clearing the air.”

Film Comment: Megan is Missing

One commenter on Netflix calls Megan is Missing, “Maybe the most disturbing thing I have ever seen.”  Another says, “Everyone with young teen children should watch this and take the warnings to heart.”  Many commenters just said, “Don’t watch this.”  At least one commenter makes the absolutely ludicrous claim that the film amounts to victim blaming. Some criticize the film saying that it is nothing more than "torture porn" and that it capitalizes on pedophilia and child abduction.  The reason I think that it is not intended to be exploitive is the included video statement by Marc Klaas, whose young daughter Polly was abducted, raped, and murdered.  Klaas seems to be a hardened, driven man.  I do not believe that he would put his endorsement on a film which exploits the very thing against which he has battled for years.

http://www.klaaskids.org/about/pollystory.html

http://www.pollyklaas.org/

A few Netflix commenters, who totally missed the point, said that the film is not a very good horror film. This is true and not true.  As a "horror film," Megan is Missing is technically not up to current standards; the acting is substandard, the special effects are minimal, there is little actual plot, and the "horror" does not appear until the last twenty minutes.  For caring, but naive, parents or for the clueless or careless teenager, this film can produce wide-eyed horror!

A warning: I would say that you should not watch this film. Once you have chosen to seen this film, you will be unable to “unsee” it; it will frighten, disgust, and militarize you. This film can be psychologically damaging to some people.  Two sixteen year old viewers reported being "mentally scarred" by the film, but another said, "I wish more girls my age would watch this; maybe they wouldn't go missing." The film contains near constant profanity, teenage sexuality, teenage drug use, rape, physical abuse, pedophilia, abduction, murder, fetishism, gore, and other disturbing elements.

The film is about two girls.  Fifteen year-old Megan is a sexually promiscuous drug-using party girl who maintains a close friendship with an unlikely partner, the sweet, naive, and innocent Amy, who is rejected by the other girls in town precisely because she is sweet, naive, and innocent. Megan's family life is terrible: her father is absent, her stepfather is in prison, and her mother's only parenting skill is to yell.  Amy's parents are loving, sweet, affectionate, conventional parents who know absolutely nothing about her personal life. Both sets of parents are totally unaware of what is happening to their girls.

Megan has met an interesting young man on line (she has never actually seen him because his "webcam is broken"). She agrees to meet him behind the local diner. She goes alone and disappears.

Amy is sure that something bad has happened to Megan and is afraid that the young man whom Megan met online is involved.  She contacts the young man online and during their argument, he insults and threatens her.  She takes her fears to the police and then suddenly disappears.

The last twenty minutes of the film are so intense and horrible that they disturbed even some of the long-time horror gore-hounds who complained about this film.  

There is no mention of Christianity or even of religion in this film.  That does not mean that there is nothing that Christians can take from this movie.

1. Be aware of who your children's friends are.

2. Be aware of your children's cell phone and internet activities.

3. Try not to frighten your children but make sure that they are aware of the tactics used by sexual predators.  As I have told my grandchildren, "Don't be afraid, just be smart."

Jesus said, "Behold, I send you out as sheep in the midst of wolves; so be shrewd as serpents and innocent as doves." Matthew 10:16 (KJV)

We are to be confident and wise and not do stupid things. We should teach our children also to be confident and wise and not to do stupid things.

……………………………………

Information about Internet safety.

http://christianity.about.com/od/practicaltools/tp/christianisps.htm

http://www.covenanteyes.com/2013/11/20/internet-safety-christian-solutions/

http://www.internetsafety.com/press-internet-safety-solution-safe-eyes.php

Excellent, detailed child internet safety information.  Adults would do well to also follow these rules.  The information was reviewed by Steven Dowshen, MD

http://kidshealth.org/parent/positive/family/net_safety.html

http://kidshealth.org/parent/misc/reviewers.html

What They Think of Us: Christmas Themed Horror Films

Below is an alphabetical list of some, but not all, of the Christmas themed horror films.  Most of these films are either set at Christmas time or feature a homicidal maniac dressed as Santa Claus.  In a few cases, the homicidal killer IS Santa Claus.  The list is by no means exhaustive.

Santa Claus is not actually a Christian religious symbol even though many people think that he is.  He is, of course, based very loosely on Nicholas of Myra, a very generous 4^th century bishop in Turkey.  Santa Claus is an increasingly secularized generic symbol of cheer, goodwill, and sharing with others.

These films demonstrate more than anything else a disrespect for the Christmas holiday.  Some express outright contempt.  Depending on the exact nature of their content, some of them may be blasphemous.

Bikini Bloodbath Christmas (2009)

Black Christmas (1974)

Black Christmas (2006)

Bloody Christmas (2012)

A Cadaver Christmas (2011)

Child’s Play (1988)

Christmas Evil (1980)

Christmas Nightmare (2001)

The Christmas Season Massacre (2001)

Christmas Slay (2014)

A Christmas Tale (2010)

Christmas With the Dead (2012)

The City of Lost Children (1995)

Day of the Beast (1995)

Deadly Little Christmas (2009)

Don’t Open Till Christmas (1984)

Elves (1980)

Feeders 2: Slay Bells (1998)

Gremlins (1984)

Initiation: Silent Night, Deadly Night 4 (1990)

Jack Frost (1997)

The Nightmare Before Christmas (1993)

Night Train Murders (1975)

One Hell of a Christmas (2002)

Ornaments (2008)

Psycho Santa (2003)

Rare Exports (2010)

Saint (2010)

Saint Nick (2011)

Santa Claus (1959)

Santa Claus and Merlin Battle Satan (1959)

Santa Claws (1996)

Santa’s Slay (2005)

Silent Night (2012)

Silent Night, Bloody Night (1974)

Silent Night, Bloody Night: The Homecoming (2013)

Silent Night, Deadly Night (1984)

Silent Night, Deadly Night, Part 2 (1987)

Silent Night, Deadly Night III: Better Watch Out! (1989)

Silent Night, Deadly Night 5: The Toy maker (1991)

Silent Night of the Living Dead (in development)

Silent Night, Zombie Night (2009)

Tales From the Crypt (1972)

To All a Good Night (1980)

Two Front Teeth (2006)

Wind Chill (2007)

Three really oddball films:

Bad Santa (2003) This (and its unrated version, Badder Santa) sounds like a horror film but is actually a highly vulgar comedy.

Nixon and Hogan Smoke Christmas (2010) A drug comedy.

Santa Claus Conquers the Martians (1964) A children’s film featuring the first film appearance of the legendarily bad actress, Pia Zadora.

Film Comment: At Midnight I'll Take Your Soul

Jose Mojica Marins (b. 1936, Brazil) is a director/actor of what would be known in the United States as independent, non-studio films, and is credited with producing the first Brazilian horror films.  Marins’ entire life has revolved around films; his father ran a movie house in Sao Paulo and the family lived in an apartment above the theater.

Though he has made and appeared in many other films, Marins is almost exclusively known for one recurring character, Ze do Caixao (Coffin Joe), who is always portrayed by Marins.  The character is so popular that he has appeared in films, on television,  in comic books, and in documentaries.  Mentions of Coffin Joe occur in numerous songs, magazine articles, and film reference books.  He even has been parodied in the short film, The Blind Date of Coffin Joe. (2008)

Coffin Joe is the embodiment of the amoral man dedicated to one thing and one thing only, himself.  Joe first appears in the 1964 film,  A Meia-Noite Levarei Sua Alma (At Midnight I’ll Take Your Soul).  The film will not be confused with Citizen  Kane but is undeniably powerful.

There is an almost constant stream of eerie background noises, including ominous music, screams, animal sounds, and echoes.  The feeling of the film is quite intense and aggressive, pushing itself at you.  Just like Coffin Joe himself.

You Tube appears to have blocked this video.  Try this link instead.

Coffin Joe is an undertaker in a small, very superstitious town in rural Brazil.  Joe is a sadistic and brutal man who believes in nothing and enjoys the fear, disgust, and open hatred shown to him by the townspeople.  He believes himself to be infinitely superior to  all of them, For him, they exist only for his pleasure and for the accomplishment of his desires.  They are his slaves and he brutalizes them to force their obedience to him.

The one thing that Joe wants above all else is immortality, to be remembered forever.  Since he does not believe in God or the Devil and knows that he will eventually die, Joe decides that his name must live forever; in order to ensure “the continuity of blood” he decides that he must have a son, a perfect son.

To produce a perfect son, Joe is willing to commit murder, rape, torture, or any other brutality.  He is the totality of everything which is evil about the self.

The Christian view is that the self is the problem.  The Bible assumes that everyone loves themselves and it never says that we should hate ourselves.  What it does say is that we should love others as we love ourselves.  Romans 13:9-10, John 13:34-35, Colossians 3:12, Philippians 2:3, 1 Peter 5:5, James 3:13-18, 4:7.

Instead of prosperity (the heretical doctrine of the Prosperity Gospel), the Bible promises that we can expect opposition even from our own families and sometimes, persecution.  Matthew 10:34, 16:24-25.

Film Comment: Rubber

Rubber (2010) is a film only a true film geek (like me) could appreciate.  It is an absurdist horror film about a serial killer who is a rubber automobile tire.  This sounds silly, and would lead one to expect something similar to the inspired insanity of the comedic cult classic, Attack of the Killer Tomatoes.  Rubber is not a comedy.


Robert (the tire) rises up from the desert sand one day and stands up on his tread.  Then he starts to roll.  Along his randomly meandering way he learns that he can, by intense concentration, cause things (tin cans, birds, rabbits) to explode.  It is only one small step up from rabbits to people.  The killings are depicted in all the gore and visual nastiness of the most extreme horror films.


Killing randomly as he goes, Robert becomes obsessed with, and begins to follow, a young woman who is driving alone on the desert highway.


Robert, of course, is not real, he is a character in a film which is being observed by a group of people, the audience, standing in the desert sand, using binoculars to observe the events as they progress.


The audience is totally helpless, exposed to the elements and the desert, so engrossed in watching the action that they fail to take care of their own needs.  No one even thinks to eat.  Late that night they all fall asleep on the desert sand.  When the members of the audience wake up, they are very hungry and selfishly fight among themselves for their share when their desert guide throws a cooked turkey into the sand.  The guide doesn't tell them that he has loaded the turkey with poison and they all die a painful death.  Only an old man in a wheelchair survives, because he was suspicious and refused to eat the turkey.


Of course, none of this makes any sense.  That's the entire point of the film.  In the first scene, one of the main characters tells us, "The film you are about to see is an homage to "no reason," that most powerful element of style."


The internet is buzzing with discussions about this film.  Most say that this is not about the tire at all, but is about the relationship between movies and their audiences, more specifically, how skilled directors can draw their audiences in and cause them to become involved in the film, in some cases becoming part of the film.  I see something deeper, I see "no reason."


We all have underlying world-views, presuppositions we use to make sense of the world around us.  In the case of this film. "no reason" is the real message of this film.  Life is meaningless. There is no purpose.  There is no absolute truth.  The only constant is randomness.  Whatever happens, happens for no reason.  Whatever one believes or does is acceptable and no one has any basis for questioning the actions or beliefs of anyone else.  Does this sound familiar?  It is the aggressively and rapidly growing worldview known as post-modernism, the logical and inevitable end result of secular humanism.  Though it grew out of naturalism, rationalism, and humanism, it declares all religious, philosophical, and political paths to be equally valid, even when their truth claims are mutually exclusive.  In its declaration that all "truths"are true, it in effect declares that there is no such thing as truth, there are multiple truths.  Your truth might not be my truth.  Nonsense rules.  Logic and rational thought are rejected.


The Bible has an answer to this nonsense:

"And as they spake unto the people, the priests, and the captain of the temple, and the Sadducees, came upon them,  Being grieved that they taught the people, and preached through Jesus the resurrection from the dead.  And they laid hands on them, and put them in hold unto the next day: for it was now eventide. Howbeit many of them which heard the word believed; and the number of the men was about five thousand.
 And it came to pass on the morrow, that their rulers, and elders, and scribes,  And Annas the high priest, and Caiaphas, and John, and Alexander, and as many as were of the kindred of the high priest, were gathered together at Jerusalem.  And when they had set them in the midst, they asked, By what power, or by what name, have ye done this?  Then Peter, filled with the Holy Ghost, said unto them, Ye rulers of the people, and elders of Israel,  If we this day be examined of the good deed done to the impotent man, by what means he is made whole;  Be it known unto you all, and to all the people of Israel, that by the name of Jesus Christ of Nazareth, whom ye crucified, whom God raised from the dead, even by him doth this man stand here before you whole.   This is the stone which was set at nought of you builders, which is become the head of the corner.  Neither is there salvation in any other: for there is none other name under heaven given among men, whereby we must be saved.  Now when they saw the boldness of Peter and John, and perceived that they were unlearned and ignorant men, they marvelled; and they took knowledge of them, that they had been with Jesus"
Acts 4:1-13.


 

Film Comment: The Bad Seed

Maxwell Anderson's broadway play, The Bad Seed, has been filmed three times; the 1956 original, a 1963 version made in Turkey, and a made-for-television 1985 film.

The 1956 original looks like a staged play because it is directly based on the Broadway production and features the cast of the stage version.  This gives the film a very claustrophobic feel, a good thing in a classic horror film.

To her horror, a loving mother (Nancy Kelly) slowly comes to the ghastly realization that, Rhoda, her cute little eight year old daughter (Patty McCormack) is a cold-blooded psychopathic killer.  Though she loves her daughter and her daughter obviously loves and trusts her, she decides that the only way to stop the murders and to spare the little girl a life in detention, is to kill her child.

All the violence in this film is offscreen and we never see the aftermath of Rhoda's murders.  We only see her blonde pigtails and her cute smile.  This is evil masquerading as innocence.  The Bible describes Satan as beautiful (Isaiah 14:13,14, Jude 6, 2 Peter 2:4).  If he were hideous or frightening we would run from him.  He masquerades as an angel of light (2 Corinthians 11:14).
................................
Similarly themed films: Devil Times Five, Bloody Birthday, The Good Son, Bad Ronald, The Omen, The Children

Film Comment: Splice

"She's not human ... not entirely."  This is the tagline for the truly disturbing 2009 Canadian science fiction film, Splice , starring Academy Award winner (2002) Adrien Brody, Canadian actress Sarah Polley, and French actress Delphine Chaneac in the role as the adult creature/specimen/thing/woman.  When I saw this film , I heard someone say that they felt like they needed a bath upon leaving the theater. It is that intense, bizarre, and perverse.

A male-female genetic research team (Brody and Polley) at the Nucleic Exchange Research and Development laboratory (N.E.R.D.) are working on creating hybrid animals (mixing genetic material from several species) for medical use.  When their funding is threatened they rush to accelerate their results and secretly add human DNA (their own) to the mix.  A viable little bird-like thing results.  They name it Dren (N.E.R.D. spelled backwards) because the female researcher almost immediately takes a mothering attitude toward the creature and insists that it is not a "specimen."

Dren cannot speak, after all, she is an animal; she coos like a bird.  She proves to be inquisitive, intelligent, graceful, and she grows at an alarming rate.  She is an adult within days.  She is tall and slender with a beautifully innocent face, her knees bend backward instead of forward, her feet resemble hands, and she has a long prehensile tail tipped with a poisonous stinger.

As she matures, Dren becomes very noticeably female and increasingly seductive. "Poppa" makes the mistake of spending time alone with her and willingly/unwillingly ends up as the object of her intense attention.  Then his wife catches them.  He is having sex with his "daughter," he is having sex with an animal, he is having sex with himself.  Dren is all three.

This film touches on the subjects of cloning, responsibility toward our offspring, aberrant sexuality, intense self pride, and amoral scientific research just for the "science."  It is, in reality, a variant on the Frankenstein theme.

The most disturbing thing about this film is that it is on the edge of no longer being science fiction.  Much of science fiction eventually becomes science fact.  Jules Verne wrote of space travel and submarines; now they are established fact.  On the first Star Trek television series, the characters would reach into their pockets and pull out their personal communicators; we now call them cell phones.

Modern molecular biology can already insert DNA sequences into bacteria and cause them to produce synthetic chemicals they would normally not produce.  The entire human genome has now been deciphered with the prospect of the ability to insert healthy DNA sequences in place of faulty ones.  The mutant genetic sequence which causes the bacterium Staphylococcus aureus to be resistant to methicillin (MRSA) can be detected in one hour from a nasal swab.

Artificial life may be just around the corner.  It may already be here.  In 2010, Dr. John Craig Venter of Utah, USA announced the creation of an artificial bacterium using synthetic DNA.  His research is aimed at producing modified microorganisms which can produce clean fuels and biochemicals.

Christians believe that God is the Creator.  There are so many questions. What will it mean if man also is a creator?  What will God think of our glorification of the human intellect?  Does God intend for us to learn all things?   Are there things we should not learn?  Are there things we should not do even if they are possible? Do scientists bear any responsibility for their discoveries?  What if our science creates a Dren?

Just in Case

"I'm a non-believer, but I recently switched from atheist to agnostic ... just in case there is any truth to it.  I don't want to get on the Big Boss' bad side."  Daniel Stamm, German-born film director of The Last Exorcism (2010), his first horror film.

"...put me on a cross ..."

Kristen Stewart, the star of the Twillight series of films is quoted about her fans in US Weekly for 28 June 2010 on page 14.

"I ... hope that I don't run off at the mouth and say something stupid they'd put me on a cross for."

Ms. Stewart meant no disrespect to Christianity. That was probably never in her mind. What her statement does reflect is the casual way in which our modern culture views religion and the sacred. There is little or no understanding of the holy.

In contrast, to the ancient Jews, the very name of God was too holy to even pronounce. When they came upon it in the uninterrupted strings of consonants in which their scriptures were written, they said "Lord" instead. When, later, vowel marks were devised and added to the texts, the vowels for adonai ("Lord") were added to the consonants HWHJ (Hebrew is read right to left, so we would see this as JHWH, the Tetragrammaton, commonly pronounced today as "Jahweh"). This combination of consonants and vowels was unpronounceable in Hebrew and was spoken as "Lord."

Centuries later, German translators misunderstood and transliterated the name as "Jehovah."

What They Think of Us: Alice Cooper

In the December 2009 issue of the Canadian horror film magazine, Rue Morgue (yes, I read several movie magazines), Robert Amacker of Poplarville, Mississippi decries the fact that the magazine has covered the work of the shock rock musician, Alice Cooper, but not of King Diamond, a horror themed rock musician.

"...while I respect all of the contributions Cooper has made to the worlds of music and horror, at least Diamond hasn't tarnished his legacy by taking up golf and Christianity."

Christian Comment on Films, Part 2

Most films are made by non-Christians but that doesn't mean that they have nothing to say to us. Films can present positive and negative demonstrations to us of religious and philosophical concepts. Many films made by non-Christians contain objectionable elements (nudity, profanity, violence, non-Christian concepts, etc). Viewers have to decide for themselves and their children what they are willing to see or not to see,

One limit for me is the depiction of graphic, unsimulated sex. It is entirely possible to depict sexual situations, which are a legitimate subject of discussion, without resorting to showing actual sexual acts. Some would call this opinion prudery, but it is not.

An objection which some throw up is that less resistance is mounted to the depiction of graphic violence and gore than to the filming of a single sexual act. That is true, but the argument is fallacious because the violence and gore are not real, no one is injured by air bladders, latex appliances, prosthetics, puppetry, computer generated graphics, and red syrup.

A sexual act, in the Christian understanding, is to be restricted to a husband and wife between whom it is beautiful, natural, and fully approved by God. As the writer of Hebrews tells us, the marriage bed is undefiled." (Hebrews 13:4)

A recent film including graphic onscreen sex is Antichrist by the Danish director, Lars von Trier. The point being made is not enhanced by the inclusion of the insert (excuse me, that is the technical term) and adds nothing to the otherwise gripping horror film based on the emotional and mental deterioration of a woman whose infant son died by falling out of a window.

Sex outside of marriage is illicit and actual sex in a film, no matter how nobly or artistically it is intended or presented, consists of two (or sometimes more) people who ultimately are engaging in sexual union for financial remuneration. By definition, that constitutes prostitution. Look it up.