Short Attention Span Review: Paranoiac (1963)

Short Attention Span Review: Paranoiac (1963)

Typically, when we fright fans think about Hammer, we recall Peter Cushing and Christopher Lee duking it out in their classic takes on such notable horror staples as Dracula, Frankenstein, and the Mummy.  It is easy to forget that the studio also produced a number of remarkable features that run the gamut from eerie thrillers to subdued chillers.  Paranoiac is a 1963 picture directed by Freddie Francis, starring a young Oliver Reed at his unstable best.  Reed smirks, schemes, sweats, and twitches his way through this stunning black and white composition that stands somewhere between Psycho and a devilish whodunit.  The cinematography is crisp and compelling, the score is dark and somewhat insidious, and all of the characters aside from Janette Scott as Eleanor Ashby are harboring dark secrets that slowly come to light.  As the movie nears its dramatic conclusion, the shocks come fast and furious, and there are a few terrifying moments embedded in what is mostly a stark and calculating mystery.  Paranoiac is a fun film to revisit, and it remains suspenseful and ominous even in this modern era of dazzling effects and heightened immersion.  It is a throwback, yes, but it is a throwback to a time when there were no big scares courtesy of CGI delights, a time when filmmakers worked hard to terrify audiences with sinister plots and impeccable craftsmanship.  Such ventures often age well, and that is surely the case with this 1963 spookshow.

Final Grade: B+

Paranoiac is creepier than one might suspect--this mask design is pretty chilling for a 1963 thriller.

Short Attention Span Reviews: Shock Waves (1977)

 

I don't know why, but when it comes to cheesy horror movies I'm a modern era snob.  Try to introduce me to a low-budget horror movie from 2015 and odds are I won't care to view it.  Find me a low-budget horror movie from 1977 and I'll buy the popcorn.  Honestly, I think the old crap is a lot better than the new crap.  Yet that isn't always the case and films like Shock Waves stand as proof of that.  Now, I knew that Shock Waves was either going to be bad or "so bad that it's good" going in, but one of my fellow horror fanatics is really keen on this particular nazi zombie flick and that gave me high hopes.  He was wrong.  I was misled.  I'm sorry, Peter Cushing, but Shock Waves is a lousy movie.  Before we start discussing things that the movie didn't do well, let's talk about areas where Shock Waves managed to succeed.  Well, . . . that was a short list.  No, seriously, they cast Peter Cushing and the atmosphere was a bit charged at times, though that probably happened by accident.  The sets are cool, though the fact that the camera was apparently operated by an orangutan makes it hard to enjoy the locations.  I'm assuming the director was drunk because I want to give him the benefit of the doubt.  The editor must have gone missing long before he finished his work with the picture.  The score could only be deemed impressive if it had been provided by small children.  On a similar note, the effects could only be deemed impressive if they had been provided by small children wearing blindfolds.  If there was a movie about people having to sit down and watch Shock Waves, that movie would be far more frightening than Shock Waves.  Seriously, if you're thinking about watching Shock Waves, I implore you to take your copy of the movie and toss into the depths where it belongs.  In fact, I should have given it the Spinal Tap treatment.  Hell, it's not too late--here's my alternate review of Shock Waves: "Shit Waves."

Final Grade: F-

This is what will happen to you if you ignore my advice and watch Shock Waves.