Tag: Horror

Butterflies (Uzumaki part 14)

Kurouzu-cho has been decimated by hurricanes being pulled in towards Dragonfly Pond. And there seems to be some strange children with the power to weaponize the hurricanes.

Butterflies — Synopsis

Butterflies is the continuation of the story of Uzumaki. It follows on some time after the shocking events of The House — after an unknown period of time. We begin by following the car journey of a set of new characters — a news crew sent to Kurouzu-cho. We learn from their discussion that a number of further hurricanes have passed over the town. So we know at least a bit of time has occurred between chapters.

On entering the outer limits of the town, the news crew’s car is flipped by a small whirlwind — a “twister” — that seemed to have come from out of nowhere.

From out of the car wreckage only the lady is able to stand — the two men are left unconscious in the car. She quickly heads off into the town to try and find help. What she finds, however, is the once-picturesque town of Kurouzu-cho now mostly decimated by hurricanes.

The place is no longer fit to live in.

During her search she comes across three young boys that have been tied up to large posts — their mouths covered. Her first instinct of course is to help the boys out of their binds. However, she will soon regret doing so, as the boys have all undergone a very odd change.

And not only that, but they also have their eyes set on further destruction — to both the town and the lady who has freed them.

The flapping of a single butterfly’s wings can create a hurricane on the other side of the world. That’s what’s happening in this town.

Chie Maruyama describes the “Butterfly Effect” to Kirie.
Its a Twister

Twisters

In Butterflies we see the return of something that was actually featured in the very first chapter of Uzumaki — albeit on much smaller scales — the twisters. Twisters are miniature hurricanes that would sometimes be seen whizzing through the streets of Kurouzu-cho. In fact, Shuichi warns Kirie of these in the opening pages of that first chapter.

Of course it wouldn’t be Junji Ito if this theme of Twisters and Hurricanes wasn’t turned up to crazy. He shows us three young boys that are able to use the power of the wind for their own destructive ends. They somehow have control of the hurricanes and seem to just enjoy destroying for the sake of destroying. In fact, it appears that they are the ones that have demolished most of the town.

What’s interesting here is how the old row houses — those run down and falling-apart wooden shacks — seem to be the only buildings that are immune to the hurricanes.

From what I can remember of the later chapters (from my reading of Uzumaki about two years ago) I believe that these houses have a bigger role to play in the town’s curse with the spiral. And although there is no disease present, as in the previous chapter, the spiral’s influence is never the less still around.

The Air Feels Heavy

Kirie the protector

I found it really cool to see Kirie come to the aid of the news lady from out of the town’s remains. She came across as a kind of vigilante, roaming the desolate wastes of earth’s future; helping those who are in need.

Kirie has always been a fighter, and never at the mercy of others to help her — except perhaps the odd occasion where Shuichi would thrust his help upon her.

It was great to see that fighting spirit was still there despite the chaos. She seemed to be the only one out on those dangerous streets savaging for food and supplies. Along with her younger brother in fact — that strength must run in the family.

All of the other survivors we see look very weary and without hope.

But not Kirie. She still picks herself up and does what she has to for her and the people around her.

Kirie Goshima

Kirie is a Queen. 💚

This chapter felt like a real change of pace for the overaching Uzumaki story. Mostly due to The Goshima’s converting their new home into a place of protection and refuge for others.

The story of “Butterflies” really made it feel as though we’ve transitioned from an almost “monster of the week” feel, into a more overarching saga set amongst the wreckage of Kurouzu-cho.

Almost a battlefield of sorts.

A battlefield in the war against the spiral.

A war that I am sure will claim much more destruction and many more casualties before the end.

And I’m willing to bet that Kirie Goshima will be on the front line.

Two of the Hurricane Boys

In Summary

Butterflies really felt like a turning point in the Uzumaki story for me; The beginning of the end. Until now we have seen many strange, outlandish events unfold that all relate to the towns ever-widening spiral curse. But with each new chapter the town still felt relatively normal overall. Each of the smaller story arcs felt somewhat self-contained for the most part.

However, this chapter shows us the almost-complete destruction of Kurouzu-cho. The town simply can not come back from this.

It feels to me like it has set us on a crazy course of mayhem and chaos, hurtling towards the collection’s huge ending.

Definitely not a chapter I would recommend reading outside of the surrounding Uzumaki collection. None of it would be very relatable without the knowledge of what came before it. But as a part of the overarching collection, it does well to set us up for the war-torn events that are sure to follow.

Blackbird

Just who, or what, is this woman who has been helping, and still continues to help, Moriguchi in this very odd, stomach-turning way?

Blackbird — Synopsis

In Blackbird, we join a young man who is bird-watching alone along a beautiful stretch of a mountainous forest. This man’s name is Kume. Along his walk he comes across another young man who is lying injured amongst the foliage — his name, Moriguchi. It seems that Moriguchi has broken his leg, and has managed to survive for a month or so on nothing but the rationed food from his own backpack.

However, as the story continues we learn the deeper, darker truth to Moriguchi’s survival. On the first night of his rescue, he asks his new friend Kume to stay in the hospital room with him. He doesn’t give a specific reason, only that he is scared. That fear is soon realised by Kume during the night, when he witnesses a long black silhouette of a figure kneeling over Moriguchi with its face pressed against his.

On a closer look, Hume sees that the figure is a tall woman with empty, dead eyes and puffed-up lips. After she has made her swift exit, Moriguchi wakes and coughs up a huge chunk of raw flesh. The raw flesh having been fed to him from the mysterious woman’s mouth to his; bird-style.

Just who, or what, is this woman who has been helping, and still continues to help, Moriguchi in this very odd, stomach-turning way? Why did she choose to help him as he lay injured on that forest floor for a month? And will he ever be able to escape her shadow and her bird-like ways?

I’ve been rescued… but She came… but I don’t need the meat anymore…

Moriguchi wants the strange woman to leave him alone

A Faustian-like nightmare

This story had the air of a faustian tale for me. A sort of “deal with the devil” in exchange for something that must be later re-paid. Re-paid with one’s soul and eternal damnation.

The only difference here between The Blackbird and the more classical faust-inspired stories, is that Moriguchi seems to make this deal subconsciously during his fear for his life. As opposed to the more well-off people of a classical faust story; People who just want more knowledge and / or power.

At least this is my interpretation.

His own fear for losing his life could have somehow summoned this woman — this devil. The woman then taking him into a strange, almost recursive, nightmare from which he can never escape. But it’s only on finishing the story do you realise just how sealed Moriguchi’s fate really is.

After we discover that it is in fact his own flesh, somehow from his future, that is being fed to him, I realised that this was a deal that had already been claimed. Yes, she saved him from certain death, but it was from the meat of his own body.

So in essence he saved himself in that immediate moment, but at the expense of his future self.

Moriguchi’s death was always inevitable.

A shadow looms over Moriguchi

An interpretation of Death

Another interpretation I thought about with regards to the bird lady, was that she could be another manifestation of the Grim Reaper; Death incarnate.

The inevitability of death is equal for all living creatures. No matter when or how that time comes, it is something that we all share. So when this woman entered Moriguchi’s life and took him into her twisted nightmare, she did so knowing full well that she would take his life in the future.

In fact, from her point of view she had already begun.

When you think about it, Moriguchi was already about to face death, regardless of the woman appearing. So in fact, she actually gave him more time on the living earth.

Is the demonic winged lady truly an evil being? Could she even be responsible for Moriguchi’s initial state of injury? Or could she actually be something of an agent for good?

Here’s a thought — what if she was some sort of angel, with the power of life and death. What if she was actually trying to give Moriguchi a bit more time in the world?

Perhaps she knew that when death decides it is our time, then it is indeed our time. But maybe she had the power to prolong that person’s life, if only for a short while. But in doing so knew that the life in question was already chosen and must inevitably be claimed.

Moriguchi’s fear for the woman’s return
The strange woman has empty dead eyes

In Summary

The Blackbird was one of the first of Junji Ito’s stories I remember reading. It was one of the ones contained in the first of his collections that I bought — Fragments of Horror. And despite the fact that I have read a decent portion of his work up till this point, it still remains one of my favourites to go back to.

It’s a circular nightmare that I love to re-enter again and again. The imagery of the blackbird woman leaning into Moriguchi on the hospital bed is one of my favourites of Ito’s. Although the panel itself isn’t hugely detailed — especially the woman herself, being only a silhouette to Kume’s eyes — I just remember the sense of wonder I got on my first reading.

Being fresh to Ito’s work at the time it was something that really opened my eyes to his work and was one of the main catalysts in my wanting to actually write about that work. Too bad it’s taken a few years to actually get round to writing about this one.

Fragments of Horror is an incredible smaller collection of stories and I fully encourage you to take a look — if only to read the awesome story that is Blackbird.

The House (Uzumaki part 13)

In The House, Kirie and family must move home after theirs is destroyed in a storm. But their new home hides a deadly secret and a body-altering disease.

The floor where her son slept was covered with small holes. Now what was that about?

Wakabayashi questions the strange goings on

The House — Synopsis

After the violent storm from the previous Uzumaki chapter, Kirie and her family have no choice but to find a new place to live. Their home, along with all others around Dragonfly Pond, have been completely destroyed by the Hurricane.

The house that they are presented with is an apartment in one of Kurouzu-cho’s old row houses — the same kind of row house as featured in the earlier chapter Twisted Souls. Their new home is run down, dirty and barely hanging together. But it is their only option and they have no choice but to move in.

Immediately upon moving in, it becomes apparent that something is not quite right with the place. Kirie should have probably expected this based on her previous adventures in the town. Strange howling noises at night and the rumours of a haunting and / or monster that devours nearby missing dogs, are enough to keep the family on edge.

But will these rumours have any teeth? What are these strange markings that the family begin to show on their bodies? And will these markings become something much more sinister?

The Goshima’s new neighbour Wakabayashi
The new Goshima home is a little run down
The run down row house

Strange bodies

In this chapter we return to what Junji Ito is perhaps most known for — his unique depictions of body horror. From the strange wart-like markings that Kirie’s father begins to first exhibit, to the grotesque protrusions that come later. Along with one of the most imaginative monsters in the Uzumaki series.

I’m always impressed by just how much content and mystery Ito manages to pack into a lot of his stories. What we know is that the family is falling victim to some kind of local disease. And also that some kind of monster lurks somewhere within. But there is also a lot that we don’t know.

Is that monster the only one of its kind, spreading its disease but devouring its victims? Or is it one of a line of them created by the town’s spiral curse? Are the families within the row houses becoming like the monster themselves? Or are they just catching the disease as a result of the close proximity to the monster?

The answers to these questions don’t really matter — at least not to me. I always love it when a story opens more questions than it closes. It has the effect of deepening the world in which the story takes place. And there are few collections that I’ve read that are quite as deep as Uzumaki.

The Old Lady Points

Monster of the Week

The House has one of my favourite “monsters of the week” in it. A monster of the week refers to a TV series that would have an overarching storyline, but would often have a different monster (or another enemy) each week for the protagonists to fight.

(Kind of like The X-Files or Buffy the Vampire Slayer).

The monster in this chapter is also one of Junji Ito’s most grotesque in my opinion. At least out of the stories I’ve read so far. Since we know where the monster’s spiral tentacles have originated from, and that the nearby people are exhibiting similar symptoms, it made it all the more creepy for me.

The design of the monster as a whole was awesome too. Aside from maybe the blood-thirsty women of Mosquitoes, the monster of The House felt like Junji Ito’s most deadly creation yet. It even made me imagine some kind of later transformation of a creature from the Resident Evil game series.

The way in which the monster’s spirals pushed their way in through the wall made me think of potatoes too. Stay with me a second. Those growths that potatoes get when left in the cupboard for too long. For the longest time those potato sproutings, although natural, really freaked me out. This monster pricked that same repulsion I think.

On first reading I thought that the healthy neighbour was the monster all along. I thought that he was just playing the Goshima Family for fools. However, on re-reading I noticed how he asks himself what is happening with his own hand as he transforms. Leading me to believe that he is just as unaware as the others.

What I found most interesting though, was just how his state escalated so quickly. He went from very early symptoms, to the fully-fledged spiral monster within moments. It seemed to me that it was somehow his lust for Kirie that became the catalyst for his transformation. His desires being revealed as he spies on her through his peep hole into their apartment. This being true, it would give the story a whole new subtext of a sexual nature.

In Summary

I wont lie, I found the monster in The House quite creepy to look at. Sometimes you see a particular image that just gets under your skin. For me, it’s creepiness was like that of another Ito story called “Greased” (which I’m yet to write about). There is just something about those little spiral warts that just turns my skin.

This would be a great first story to jump into for a taster of Junji Ito’s style. The story is self-contained and gives just as much back story as is needed. And the body horror aspects, whilst being creepy and enough to almost turn my stomach, aren’t up in the realms of his more graphic depictions of horror.

I definitely put this into the top half of my favourites from Uzumaki. Not quite the top five, but definitely somewhere close.

Thoughts on The people under the stairs

I finally faced my childhood trauma by watching The people under the stairs in full. I saw sections of it as a child and remember only the image of children running from something in the wall cavities of a old creepy house.

It was an absolute surprise and joy to see Everett McGill and Wendy Robie as an on-screen couple again after their iconic partnership in David Lynch’s Twin Peaks as Ed and Nadine Hurley.

Credited as simply ‘Man’ and ‘Woman’ respectively, the pair live in a large fortified house just outside of a Los Angeles Ghetto. That Ghetto is pretty much owned in full by the couple — land and property bought and passed on through the years to subsequent generations of the family.

The couple are Land lords to many in the neighbourhood, but specifically a family struggling to pay the bills due to abject poverty and family illness. The story kicks off when the poor family’s young son, nicknamed ‘Fool’, is used by a criminal friend of the family to help break into the rich couple’s house. They do this to try and find a rumoured collection of gold coins that have been hoarded there.

What follows is them all trapped in the house with no escape, running and hiding from the sadistic couple armed to the teeth and commanding a large, vicious dog. Not only that, but they must also content with the people under the stairs.

The things I found most scary this time around were not necessarily the chases through the walls or the basement encounters, although they were often tense. What I found myself finding most horrific was how these crazed parents treated their daughter Alice.

Alice lives under a constant cloud of threatened, and often enacted, abuse. Later we even see her slammed on to the floor to clean the blood-drenched wooden flooring of the house. And then soon after being force-cleaned by her mother in a visibly-scolding deep bath of water.

How this film went from comedic moments of joy to horrific moments of torture and mutilation was all but expertly done. Despite having so much to offer in terms of tone, it never felt jarring. It was a roller coaster that just kept throwing in loop-da-loops and sharp left turns.

Mcgill and Robie were incredible as the crazed couple hunting for the blood of the intruders whilst trying to keep their current captives under control. And then there is the illusive thing living in their walls.

Oh, and their dog is bloody terrifying.

I loved them both in Twin Peaks. The people under the stairs made me love them even more.

Equally as impressive was the actor playing Fool — Brandon Adams. He had great charisma on screen and his character really kicked ass and held his own against the lunatics.

Fool would often fight back against his pursuers and never made any dumb decisions to merely serve the plot.

He sure is one smart cookie.

I’m actually proud of myself for clocking the satirical take on the nature of capitalism throughout the film too. Maybe all of this writing and thinking a bit more about the films I watch is having an affect on me?

I enjoyed this film so much, and for many different reasons. I really can’t recommend it enough.

Watching The people under the stairs

An image from an old film haunted me for some years in my childhood. Only recently did I discover somehow, without watching it, that the image was from The people under the stairs.

Now I’m going back in to a film I may have seen as a child and possibly blocked out, out of trauma.

The people under the stairs poster

Afterward

This film was amazing. I need to write up some thoughts on it soon.

Thoughts on Friday the 13th part 2

Apart from being an entertaining and very 80’s killing spree around the cursed area surrounding Camp Crystal Lake, I thought this was a really well made, and clever horror film.

The second film in the Friday the 13th series and first appearance of Jason.

I absolutely loved this film.

I found myself constantly second guessing what was going to happen next.

Apart from being an entertaining and very 80’s killing spree around the cursed area surrounding Camp Crystal Lake, I thought this was a really well made, and clever horror film.

The opening scene was, for the lack of a better word, perfect. The sustained tension through the entire five to ten minute opening with the first film’s lone survivor almost gave me a stomach muscle ache i think.

The camera direction was incredible in pointing my attention to places I was certain someone would appear from. Even the shower room POV shot — done Psycho style — ending in the lady all but winking to the camera to say to the audience “I know what you were thinking”, had me smiling to myself.

Smiling and nerve-wracked all the way to the opening scene’s superb climax.

One of the best opening scenes in a horror film I can remember seeing.

The rest of the film was great from beginning to end too, with some great moments of tension throughout.

There was even one particular death that I found myself second guessing again too. I wont say which, but after what I’d consider clever uses of misdirection up until now, I found myself assuming that a certain scene was going to be more drawn out and elaborate than it was.

When in fact it couldn’t have been more straight forward and to the point. #BladeToTheFace

As far as the killings go, this wasn’t as gory as I was expecting it to be. I think that maybe as this series is one of the bedrocks of slasher films, it has a level of infamy that can easily hype it up in the minds of those that haven’t yet seen it. Despite my saying that, I think that the level of violence in general will keep any horror fan salivating.

One thing that did surprise me was that Jason felt much more human than I was expecting. In all of the references I had seen to him up till now, he is portrayed almost like a machine that can not be killed. Although saying that, there was an awesome scene as he is revealed in full for the first time — where he stands up from under a cover, towering over his next victim.

A really imposing figure and one of my favourite scenes of the film.

His ability to get back up after certain injuries seemed almost plausible here too. However, I am fully expecting his recoveries to get less and less plausible as I delve deeper into this series.

I had to smile and grimace at times when either a couple would have sex or someone would say “I’ll be right back” — I was immediately reminded of a key scene from Wes Craven’s Scream, where a horror film nerd would describe these dangers and things to not do in a horror film. It seems that he was right.

I had already enjoyed the first Friday the 13th film some time ago. And now that I have enjoyed this one even more, I am really looking forward to getting further into Jason’s world.

Despite my expecting them to start degrading with originality over time, from what I’ve heard at least, I am really excited to be going on the ride for the first time.

The New York Ripper — My Thoughts

The New York Ripper has been one of the most challenging films I’ve watched in recent times. It’s violence and sexuality are off the charts.

The New York Ripper has been one of the most challenging films I’ve watched in recent times. It’s violence and sexuality are off the charts — all in all a cracking Giallo thriller.

New York is being terrorised by a serial killer who seems hell-bent on cutting up young women, seemingly for some kind of sadistic sexual pleasure. And these acts of violence are put front and centre in your face. Every. Single. Time.

The opening credits consisted only of the still image of the dog with the severed hand in his mouth that he’s just found in a bush. With this and the funky 70s television flavour soundtrack, it felt almost like a black comedy of sorts.

I don’t know why I kept getting the vibes of a black comedy in this film. Perhaps it is the super over-the-top depictions of killing and the fact that the killer pretended to be a duck whilst murdering people.

Screaming

Quack quack quack

Ducks… Yer… So, the killer begins quacking like a duck as they begin violently cutting open their victims. Stay with me though. At first it was kind of funny and a complete juxtaposition to what was going on on-screen.

Quack quack…

CUT — SLICE

Quack quack quack…

HACK — CHOP

But as the film went on, that sound became bloody terrifying to me. Like a razor sharp shriek cutting straight into my brain. Walking down the canal feeding the ducks with my lady will never be the same again…

I liked how there is actually a reason for that duck sound too (no — the killer is not a duck) and it is actually more of a grounded reason than I was thinking it would be.

And when it comes to the identity of the killer, I found myself guessing right up until the point at which one of the characters clocked it. Yes I am a bit slow, but I think that Fulci did a great job at dropping red herrings here and there.

Beauty in the killing

Only after I wrote that heading did I realise how mental it sounds. Oh well, it’s staying. haha.

I don’t often find any sort of pleasure out of people being killed in films — unless they have it coming of course — but I can appreciate a really stunning piece of cinematography from the violence. And this film has those throughout — and not always in relation to a death scene.

Despite many of the scenes being so graphic — in both sex and violence — the director, Lucio Fulci, has created some incredible-looking sequences throughout his film, that just beg to be looked at again and again.

The way in which he uses colour alone is incredible — most notably a scene with live sex performer Eva, as she is returning to her dressing room.

I loved this section so much that I have included five none-spoiler screenshots of it here:

Eva heads back to her dressing room
Eva shuts the door behind her
Eva in her dressing room
Taking the fake lashes off
Broken glass
Some shots of the scene with Eva in her dressing room — possibly one of my favourite scenes from a Giallo film so far.

Eva’s scene reminded me of Alfred Hitchcock’s Vertigo. Specifically a hotel room scene in which a character is bathed in the neon green light of the hotel sign outside the window. This isn’t the first time I am reminded of Hitchcock’s work in a Giallo film either.

Some of the scenes in New York Ripper reminded me heavily of a more modern film I’ve seen too — The Neon Demon. No doubt the director of that film, Nicolas Winding Refn, took heavy inspiration from the Giallo genre — something I am only just uncovering for myself in my new obsession.

This scene from Fay’s train ride had some great set pieces in it too. The train itself and shortly after, the cinema:

Fay rides the train

Conclusion

If you are feint of heart please do not watch The New York Ripper. It uses extreme close-ups of killings like my partner uses Ketchup: in large doses.

However, if you dig over-the-top violent scenes with elements of beauty in films, then this could be right up your street.

Despite my constant mention of violence and sex in this film, it does have a good story. A story quite typical in the world of slasher / giallo films I think: detective tries to track down violent serial killer as more killings unfold in more beautiful and dramatic ways.

And although it shares so many Giallo characteristics, it is uniquely memorable in so many ways.

Jane Lodge is a very sexual woman
The ripper takes their first victim
At the end of the corridor

Thoughts on Phenomena

Dario Argento’s Phenomena is yet another example of a masterclass in horror cinema.

The next film in my Giallo journey was Dario Argento’s Phenomena — arguably one of his best. Although, to be fair, I haven’t seen a bad Argento film yet.

From it’s wide open start amongst the Swiss countryside — where a student girl misses her bus — to the claustrophopic, insane ending, this film had me hooked and anxious throughout.

I thought that with Jennifer Connelly as the main star, along side Donald Pleasence, I would feel relatively safer than I have with previous GIallo films. I knew her mainly for the film she did the year following Phenomena: The Labyrinth. But how wrong I was.

Phenomena — synopsis

The film is about a young girl, Jennifer, who is sent to a Swiss girls school by her father. She already knew that she had an affinity with insects, but it is during her short stay at this school where her affinity grows stronger and stronger.

In the area there is a serial killer who seems to be picking off the girls from the school. And after Jennifer witnesses something she shouldn’t have whilst sleep walking, she fears that she is next.

In her travels she meets a local scientist — one who specialises in insects (very apt) — who she teams up with to try and track down this killer on the loose.

The Soundtrack

Phenomena’s soundtrack was partly done by Goblin, as with other films of Argentos’. And it is as awesome as you can imagine, (if you’ve seen films like Deep Red or Suspiria before). If you haven’t, then you are in for a real treat in experimental music.

Joining Goblin, and some others, on this kick-ass soundtrack, is none other than Iron Maiden. Namely the song “Flash of the Blade” from their 1984 album “Powerslave”. One of my favourite Iron Maiden albums, and the first album of theirs that I bought coincidentally.

The soundtrack does wonders for this film’s pacing. At one point I was anxious and nervous following these characters. But then when that crazy opening to “Flash of the Blade” came on, a huge smile took over my face. I found myself simultaneously foot-tapping to a great song i’d forgotten about, and worried for a woman’s life as she ran from a merciless killer.

Jennifer from Phenomena

Reminiscent of Hitchcock

Alfred Hitchcock is a huge influence on so many film makers, especially the ones worth their salt in my opinion. Some directors make this more obvious than others in some of their films (and I don’t mean that negatively). One good example that springs to mind is the look and feel of Martin Scorsese’s Cape Fear. I remember feeling that if Hitchcock was alive and made that film, it would be very similar aesthetically*. This was aided in no small way by employing Hitchcocks long-standing music maestro Bernard Herrmann.

*Disclaimer: I’m not a film student so am probably talking absolute crap 😀

Anyway, there is a scene in Phenomena where Jennifer is trying to track down the killers hideout using a very unconventional method — I’ll let you discover the method. But method aside, the entire bus ride she takes from the town centre out to the rolling swiss countryside hills was a complete callback for me to Torn Curtain — Hitchcock’s lesser-known, but no less incredible, political thriller film from 1966.

Vera Brandt misses her bus

In Summary

This feels like the most accessible of Argento’s films I’ve watched up till this point. I mean, they have all been on Amazon Prime, but due to the use of more western actors who I’d known from previous films, this film felt that bit more familiar to me. Of course this is only from my own perspective. Also I often prefer not knowing any actors in these Giallo films — it somehow makes them feel more dangerous.

That said, I thoroughly enjoyed Phenomena for every single moment of its almost-two-hour run time. One thing I’m noticing from Argento is that I am finding myself remembering so much from his films — due to so many of his scenes feeling so iconic.

The violent pane-smashing opening, the unconventional vat of… stuff, and of course that scene with the chimpanzee (spoiler: the chimpanzee survives this crazy story**).

**If I thought a Chimpanzee was going to be killed I probably wouldn’t watch it, so wanted to put your mind at ease there. 🙂

Some stills from Phenomena

Jennifer is examined
Jennifer strokes a bee
Maggots are a strong theme
Jennifer and Professor McGregor
Inga the Chimpanzee

Watching Phenomena

Initial thoughts

What a fucking incredible film. From start to finish I was gripped. Jennifer Connelly is great; Dario Argento is at the top of his game; and Donald Pleasance was a joy to watch as always.

The film was violent, creative and awe-inspiring in equal measure.

And that ending. That vile ending that just kept me second guessing myself until the credits rolled.

Thank you once again, Argento you crazy beautiful film maker.

Welcome to Hanwell — first impressions

I picked up Welcome to Hanwell for a few quid in a recent PlayStation Store sale. On first playing it has a good creep factor. Waking up in a morgue and taking your first steps in the dark, dank blood-splattered underground is a great introduction to any horror game.

The opening had me walking through a couple of corridors into the adjoining rooms and office, as it taught me the basic game controls and mechanics. One of these mechanics was looking behind you as you run — this can only mean bad things ahead.

I love the atmosphere of the game so far — despite having been unable to escape this basement area for about 45 minutes or so. The idea of an open-world horror game does tickle my fancy somewhat, so I really hope I can get past this first challenge.

And no — I’m not going to spoil what that challenge is. 😀

Welcome to Hanwell title menu
Welcome to Hanwell loading screen
Starting point in the morgue
Eyes open – first sights
Some bloody escape

One draw back for me

I have to mention one thing that has me a bit miffed. I can not find any option to invert the Y axis. 🙁 . This may seem like a petty thing, but I find it super jaring to play any game without the inverted Y axis. I think this can only be due to the many many hours I spent playing Ace Combat 2 on the PlayStation as a youth.

I have tweeted the developers in the hope that it could perhaps get added in an update. Not sure if this will happen, but if you don’t ask you don’t get.