"That fucking film, dude..."
Buckle up. It's going to be a bumpy ride. Just look at mom's face.
I don't quite remember why I picked up a VHS copy of Dead End. I must've read one good review and thought that the 2$ price tag was fair. I had only a mild interest in it which could best be described as a collector's impulse, or the inexplicable drive to amass, as if to compensate for loss or absence in other aspects of life. In any case, I didn't expect much from the film. And while it isn't much indeed, it's the best it could've been considering its ambitions. When I first saw it, I was happily surprised. When I saw it again, I was even more happily surprised because it does what it has to do so well while being totally unpretentious about it. Dead End is a textbook exemple of how to successfully do a B-rated horror film. And this sort of little films sure come in handy on cold, lonely, winter nights.
On Christmas Eve, a typical American family including the square-jawed, grey-haired dad, granny-ish mom, rebellious teenage son, studious, blonde daughter with a jock boyfriend, all are driving on a dark road towards the house of some relatives. At some point, dad inexplicably takes a detour, stating that he was bored with the Interstate, and feared sleep. As we all know, detours are never a good idea in horror films. Evidently, here is no exception as strange events start unfolding. There's a mysterious woman in white near the road, a ghastly apparition with a nasty gap on her forehead and a silent baby wrapped in sheets. There's a hearse roaming the road, hellbent on capturing the souls of the recently deceased and a small, empty cabin which is actually the only interior in all the film (save for the car itself). Creepy stuff happens which I can't reveal without spoiling the fun, and all the while, the characters' exposition continues. The road stretches hundreds of miles without any intersection as the characters desperately try to find a way out. The plot is simple enough, and pretty linear. Nonetheless, there are enough twists and turns to keep you interested until the mystery finally unravels and you go: "Damn, that was a crazy ride, but it was worth it!"
The woman in white is a fox: beautiful, cunning and deadly.
Cool people will inevitably tell you that they figured out the ending a couple of minutes in, which is entirely plausible considering the number of hints that the spectator has to work with. For those of us with regular insight, or more to the point, for those of us with a distrust in screenwriters so strong that they will not be convinced of any obvious truth until the drop of the curtain, the scenario will have you guessing all the way through. At any rate, the ability to predict the film's ending shouldn't impair its appreciation. It could actually heighten it, for there is no twist ending here, but a carefully planned one. You just have to observe how the mystery unfolds to capture the relevance of every scene. And reflect on how everything is precisely in its right place. Personnally, I find that it is always better to know a film's ending before even walking in the theater. That way, you can enjoy the film on a technical level without being a slave to the narrative. In saying this, I am trying to convince curious people that in this case, the ending does not make the film. It merely closes it, leaving you begging for more.
All in all, Dead End's success relies on two key elements: a strong scenario that successfully walks the thin line between humor and horror and a highly capable, and obviously willing cast led by bona fide B star Ray Wise. Ol' Ray is splendid as the over-burdened father. His stone-faced approach makes it feasible for him to handle touchy, dramatic scenes with the same ease as darkly humorous ones. 25-year-old TV actor Mick Cain first appears miscast as the family's wisecracking teenage son, but he actually does a pretty good job of bringing to life what is essentially an obnoxious brat which you will love to hate. Both guys have this zany energy that could only stem from self-enjoyment in their work, but it is ultimately Lin Shaye who steals the show as the manic-depressive mother who twitches her way through the second act, and eventually dies of an auto-erotic brain massage (!!). Truly everyone here did what they could to make this humble effort a success, including the people behind the camera.
The directors make the most of their budget by deciding to suggest carnage rather than to show it. The result is an heightened sense of horror stemming from our own input. Most of the time, there is only a small part of a corpse protruding into the frame, or the mere hint of an atrocity (such as a severed ear or the schematic drawing of a corpse) to feast upon, which is fine considering that showing poor gore could only undermine the legitimacy of the film. And besides, seeing is not as much fun as imagining, especially when cued by the characters' horrified faces. There's actually a real sense of dread emanating from the aftermath of each execution as characters fall into diverse states of madness and the chessboard is rearranged accordingly. Add to that the oppressive atmosphere stemming from dark woodlands surrounding the characters and you've got a pretty solid horror film all around. Apart from the epilogue, which I thought was over-long and over-explanatory while featuring some of the worst acting in the film, there is nothing really bad here. On the other hand, there are many interesting little novelties, or at least rarities, such as the death by brain massage or the "jerking off in the woods" part (I might have to take cues from the film, me who has actually jerked off in the woods once), little irreverent bits, which would not necessarily have been possible in a bigger-budget film.
Guessing might just be more fun than seeing.
On Christmas Eve, a typical American family including the square-jawed, grey-haired dad, granny-ish mom, rebellious teenage son, studious, blonde daughter with a jock boyfriend, all are driving on a dark road towards the house of some relatives. At some point, dad inexplicably takes a detour, stating that he was bored with the Interstate, and feared sleep. As we all know, detours are never a good idea in horror films. Evidently, here is no exception as strange events start unfolding. There's a mysterious woman in white near the road, a ghastly apparition with a nasty gap on her forehead and a silent baby wrapped in sheets. There's a hearse roaming the road, hellbent on capturing the souls of the recently deceased and a small, empty cabin which is actually the only interior in all the film (save for the car itself). Creepy stuff happens which I can't reveal without spoiling the fun, and all the while, the characters' exposition continues. The road stretches hundreds of miles without any intersection as the characters desperately try to find a way out. The plot is simple enough, and pretty linear. Nonetheless, there are enough twists and turns to keep you interested until the mystery finally unravels and you go: "Damn, that was a crazy ride, but it was worth it!"
The woman in white is a fox: beautiful, cunning and deadly.All in all, Dead End's success relies on two key elements: a strong scenario that successfully walks the thin line between humor and horror and a highly capable, and obviously willing cast led by bona fide B star Ray Wise. Ol' Ray is splendid as the over-burdened father. His stone-faced approach makes it feasible for him to handle touchy, dramatic scenes with the same ease as darkly humorous ones. 25-year-old TV actor Mick Cain first appears miscast as the family's wisecracking teenage son, but he actually does a pretty good job of bringing to life what is essentially an obnoxious brat which you will love to hate. Both guys have this zany energy that could only stem from self-enjoyment in their work, but it is ultimately Lin Shaye who steals the show as the manic-depressive mother who twitches her way through the second act, and eventually dies of an auto-erotic brain massage (!!). Truly everyone here did what they could to make this humble effort a success, including the people behind the camera.
The directors make the most of their budget by deciding to suggest carnage rather than to show it. The result is an heightened sense of horror stemming from our own input. Most of the time, there is only a small part of a corpse protruding into the frame, or the mere hint of an atrocity (such as a severed ear or the schematic drawing of a corpse) to feast upon, which is fine considering that showing poor gore could only undermine the legitimacy of the film. And besides, seeing is not as much fun as imagining, especially when cued by the characters' horrified faces. There's actually a real sense of dread emanating from the aftermath of each execution as characters fall into diverse states of madness and the chessboard is rearranged accordingly. Add to that the oppressive atmosphere stemming from dark woodlands surrounding the characters and you've got a pretty solid horror film all around. Apart from the epilogue, which I thought was over-long and over-explanatory while featuring some of the worst acting in the film, there is nothing really bad here. On the other hand, there are many interesting little novelties, or at least rarities, such as the death by brain massage or the "jerking off in the woods" part (I might have to take cues from the film, me who has actually jerked off in the woods once), little irreverent bits, which would not necessarily have been possible in a bigger-budget film.
Guessing might just be more fun than seeing.
I have mentionned the strong scenario, but it is actually amazing to see how brilliant and relevant its unfolding is. This here is truly a great cathartic adventure for the characters, all of which have dirty secrets that slowly seep out, adding not only to the characters' background, but to the sense of despair and desillusion with family life and the sacredness of some of the more incongruous family tradition, such as the dreaded (and obligatory) Christmas reunion. Christmas is actually a pretty shitty time of year for most adults. They need to drive hundreds of miles on slippery roads, in the dark, while listening to stupid carols and whining kids, all that to meet a bunch of people whom they hate, but whom they have to hypocritically treat with respect, lest their teetering marriages come to an end and they risk losing half of their possessions. Really, Christmas is particularly cathartic, especially since alcool and high-strung emotions are likely to be involved, which will loosen tongues and allow truth to rear its ugly head. This is actually a perfect set-up for an horror film. From the getgo, it gives you dark roads and dark emotions. True horror is only a few steps away in the nether regions of family life. But we all know that, through crisis, family members band back together, which is what happens here through an intriguing mechanic of attraction/repulsion which perfectly exemplifies the highs and lows experienced by all families. Of course, there are no intricate psychological subtelties here, only well-written, well-acted characters who appear entirely believable, almost more so when beginning to teeter on the brink of insanity and despair.
So, what we have here is both a great gimmick film, sort of a mystery monster movie, but also a somewaht interesting character study. The thing is that Christmas reveals a person's character (and his dark secrets) better than any other event. It is the great cathartic force behind the film. Sure, the more grisly aspects of the film may well constitute the meat of it. But eventually, it is the continual exposition of the characters which holds it together (in that, it might act as the gravy). Every event in the film is meaningful because it triggers and outpouring of secrets as the characters become more and more psychologically unstable. Everything in here is perfectly integrated in the grander scheme, as it should be. There is a reason for every scene that goes beyond the need for a new kill, and there is an evolution of the characters that follows accordingly. Hell, who said all horror films were dumb slashers?
All in all, what's great about Dead End is the smarts put in, but most importantly, the willingness and sheer enjoyment that the makers of this film hold for their work, which are prominently shown in every scene. Sure, the people responsible for this might just be there to make a buck. To make their salary and solemnly claim: "Another day, another dollar". Maybe they don't care about film fans, about horror, or about film in general... Nonetheless, they do the best they can. They're impeccable professionals. And you can admire that, as you should in every other domain: dedication to one's work. Maybe not passion, but at least a sense of responsibility which I should dare call honesty. A beautiful, but rare thing, this...
Don't judge a book by its cover... Otherwise you might think that Catcher in the Rye is shit.
I have considered many aspects of the film in my appreciation of it, but the main point I should try to make concerns its incredible potential amongst genre fans. Now, I wouldn't say the film is innovative. Sure, it does have its moments of mad brilliance, and yes, it does contain things I had never seen before. Nonetheless, it remains somewhat generic. The major thing that distinguishes it from other B-series, or straight-to-video, and ultimately ephemeral efforts is excellence. I'm talking almost perfect here. Perfect because it doesn't have lofty goals or pretentious, philosophical aspirations. Perfect in what it is trying to do.
For me, the film was a sleeper hit. I bought it in a lowly bargain bin many years ago for two measly dollars with which I can't even buy a hotdog at the Bell Center. The other night, I took it out of my library and put it in my old VHS player. The only thing I could then remember is having been surprisingly happy when I first saw it, alone on a cold winter night, wrapped in a blanked and chilled to death by the intolerable sense of dread that permeates the film (and which I found again intact the second time around). For me, the association was simple: I had just watched a confused mess of a film and its setting had reminded me of Dead End. Inside of myself, I couldn't bear the fact that me and my friends were watching Five Across the Eyes while Dead End sat on the shelf, collecting dust. It didn't seem fair for Andrea, Canepa, Wise and crew. So I had no hesitation, and God, am I glad to have trusted my instincts. The film was a hit! One of my friend kept saying: "That fucking film, dude..." as the plot twisted and turned. In the end, the cold hard truth is that, for the price you're likely to pay for this film, it's most probably worth it. You won't expect a thing, you will think, as I did: "This film can't possibly be good, just look at the cover!" But that's where you would be wrong: Never judge a book by its cover.
*** A textbook example of how to create a great B-movie.
Footnote 02/14: Removed half a star from the rating. Guess I got carried away after the film saved me from embarrassment on a night where I made the mistake of renting Five Across the Eyes (see full story here).
So, what we have here is both a great gimmick film, sort of a mystery monster movie, but also a somewaht interesting character study. The thing is that Christmas reveals a person's character (and his dark secrets) better than any other event. It is the great cathartic force behind the film. Sure, the more grisly aspects of the film may well constitute the meat of it. But eventually, it is the continual exposition of the characters which holds it together (in that, it might act as the gravy). Every event in the film is meaningful because it triggers and outpouring of secrets as the characters become more and more psychologically unstable. Everything in here is perfectly integrated in the grander scheme, as it should be. There is a reason for every scene that goes beyond the need for a new kill, and there is an evolution of the characters that follows accordingly. Hell, who said all horror films were dumb slashers?
All in all, what's great about Dead End is the smarts put in, but most importantly, the willingness and sheer enjoyment that the makers of this film hold for their work, which are prominently shown in every scene. Sure, the people responsible for this might just be there to make a buck. To make their salary and solemnly claim: "Another day, another dollar". Maybe they don't care about film fans, about horror, or about film in general... Nonetheless, they do the best they can. They're impeccable professionals. And you can admire that, as you should in every other domain: dedication to one's work. Maybe not passion, but at least a sense of responsibility which I should dare call honesty. A beautiful, but rare thing, this...
Don't judge a book by its cover... Otherwise you might think that Catcher in the Rye is shit.I have considered many aspects of the film in my appreciation of it, but the main point I should try to make concerns its incredible potential amongst genre fans. Now, I wouldn't say the film is innovative. Sure, it does have its moments of mad brilliance, and yes, it does contain things I had never seen before. Nonetheless, it remains somewhat generic. The major thing that distinguishes it from other B-series, or straight-to-video, and ultimately ephemeral efforts is excellence. I'm talking almost perfect here. Perfect because it doesn't have lofty goals or pretentious, philosophical aspirations. Perfect in what it is trying to do.
For me, the film was a sleeper hit. I bought it in a lowly bargain bin many years ago for two measly dollars with which I can't even buy a hotdog at the Bell Center. The other night, I took it out of my library and put it in my old VHS player. The only thing I could then remember is having been surprisingly happy when I first saw it, alone on a cold winter night, wrapped in a blanked and chilled to death by the intolerable sense of dread that permeates the film (and which I found again intact the second time around). For me, the association was simple: I had just watched a confused mess of a film and its setting had reminded me of Dead End. Inside of myself, I couldn't bear the fact that me and my friends were watching Five Across the Eyes while Dead End sat on the shelf, collecting dust. It didn't seem fair for Andrea, Canepa, Wise and crew. So I had no hesitation, and God, am I glad to have trusted my instincts. The film was a hit! One of my friend kept saying: "That fucking film, dude..." as the plot twisted and turned. In the end, the cold hard truth is that, for the price you're likely to pay for this film, it's most probably worth it. You won't expect a thing, you will think, as I did: "This film can't possibly be good, just look at the cover!" But that's where you would be wrong: Never judge a book by its cover.
*** A textbook example of how to create a great B-movie.
Footnote 02/14: Removed half a star from the rating. Guess I got carried away after the film saved me from embarrassment on a night where I made the mistake of renting Five Across the Eyes (see full story here).
