Directors: Michael Armstrong, Stanley A. Long
Writer: Michael Armstrong
Cast: Vincent Russo, Michael Gordon, Marie Scinto, Robin Bailey, Ann Lynn, Jonathon Morris, Dione Inman, John Styles, Bosco Hogan, Ian Saynor, Yvonne Nicholson, Veronica Doran, David Van Day, Dora Bryan, Jean Anderson, Gary Linley, Matthew Peters
Plot: Ed and Bruce (Vincent Russo and Michael Gordon) are in for a fun night of shoplifting VHS tapes and invading his “friend” Marie (Marie Scinto)’s apartment to watch them. This loose framing sequence brings us into a trilogy of horror shorts.
In the first film, “That’s The Way We Do It,” a penniless puppeteer named Jack (Robin Bailey) is told by his wife Lena (Ann Lynn) she’s taking her son Damien (Jonathon Morris) and moving to Canada. Damien, Jack’s stepson, begins to torment the old man, asking to set fire to his Punch and Judy dolls before they leave and saying Jack isn’t the man his father was. Damien attacks Jack during a show and sets fire to his puppet stage. His Punch puppet survives the blaze, seemingly comes to life, and delivers a savage beating to Damien. When her son doesn’t come home that night, a frustrated Lena finally gives Jack an ultimatum: her or the puppets. Naturally, that night, Punch takes care of her, too. Jack calls a doctor to tend to her, and confesses that he’s afraid of the puppet, who is now acting out his brutal puppet shows for real, and soon, the Doctor dies. The next day, Damien’s girlfriend (Dione Inman) comes to investigate, only to find Jack gone mad, acting out the Punch role. He chases her, falling into a garbage truck, and is crushed.
“Dreamhouse” is next. Newlyweds Tony and Susan (Ian Saynor and Yvonne Nicholson) move into a new house, where Susan begins seeing a boy circling their yard on a bicycle. The house, meanwhile, is a mess – electrical problems and a strange red substance that comes out in the water. Whenever she tries to confront the boy, he vanishes, and blood appears on a kitchen knife she was using to cut vegetables. Instead of running away like a sane person, Susan just keeps waking up Tony in the middle of the night to investigate the strange noises she’s hearing on top of everything else. As he’s gone, she sees a man with a knife prancing through the halls (literally prancing – he dashes past her bedroom door like a ballerina). She sees blood everywhere, a corpse in her bed, a bloody child on the bannister and – most horrific of all – a house painter. She finally calls a medium, Miss Burns (Veronica Doran) to investigate the house, but even she thinks Susan is nuts. Left alone in the house, Susan’s visions converse, and she’s forced to watch one of her ghosts as it slays some of the others. Tony is forced to commit his wife and sell the house. As he comes by to get something he left, he sees the new family, including a boy on a bicycle, a teenager painting a room… and he’s slain by a the killer in the back of his car.
Finally, there’s “Do You Believe in Fairies?” Gavin (David Van Day) is a motorcycle rider desperate for money. He winds up taking a handyman job for a pair of old women named Emma and Mildred (Dora Bryan and Jean Anderson), whose yard is awash in ceramic gnomes. As they interview him for the job, they ask an interesting question – if he believes in fairies. When he notices the large wad of cash Emma pulls his pay from, Gavin plans to rob the women. With his friend Frank (Gary Lindey) and his brother Tim (Matthew Peters), he sneaks into the house. Then the gnomes appear – dozens of the ceramic figures, all inside and giggling at them. When one of them, now full-sized, jumps on Tim’s back… well…, the tension isn’t exactly broken. In the yard, figures wrapped in white crawl from the ground to attack Frank (I don’t know what the hell those are supposed to be, Mummies maybe), while Gavin is faced with the horror of a beautiful girl in period costume who apparently can throw knickknacks with her mind. She winds up stripping his shirt off and making out with him, because why not?, before using her powers to stab him with lots of pointy things. Later, we see the old women hiring a new gardener, where they add the interesting tidbit that the girl who kissed Gavin is their ancestor, and she made a contract with the fairies that they could have the souls of her lovers as slaves.
As the framing sequence ends, a hand pops out of the TV and kills Ed, while Bruce is beaten to death by the Punch puppet. What the hell.
Thoughts: It’s sad that there isn’t really that much to say about what is, essentially, four movies. Michael Armstrong took three of his own unrelated short films and created a fourth to act as a way to piece them together. Unfortunately, none of them is particularly interesting, memorable, or well-made.
The first short, with the puppeteer, feels really by-the-book – you’ve got your poor, put-upon protagonist who is saddled with a miserable family and has to deal with their cruelty and indifference towards his own life. And what’s more, considering that Damian is an older teenager, one has to wonder at what stage of life Jack and Lena even got married. If the whole Punch and Judy thing was so reprehensible for her, why did she marry this guy in the first place? It doesn’t make sense from any sort of character standpoint.
Perhaps the best selling point of this short is the reveal that it’s Jack himself who is murdering people, and not the puppet. Although Anderson is anything but a competent director (more on that later), he does a fairly effective job of angling the camera so as to make it appear that Punch is supposed to be moving on his own. When the girlfriend sees that Jack has been manipulating the puppet all along, you remember suddenly that all of the shots concealed where Jack’s puppeteer would be, in the best Muppet fashion. You’re simply so ready for the movie to be a crappy supernatural horror film that it’s actually sort of refreshing that it turns out to be a crappy slasher film instead.
Then there’s “Dreamtime,” a short with a reveal that really forces you to scratch your head. Again, it’s a twist – instead of visions of the house’s horrific past, Susan was having visions of its horrific future. It’s an interesting idea that helps keep this from being just a standard haunted house story. That said, many of Anderson’s directing choices are so poor that it totally negates any chance for the short to build real momentum. The pacing is intolerably sluggish, and there are plenty of slow, interstitial shots that really add nothing to the story, the mood, the characters… anything. Plus, I know it was the early 80s, but Susan’s glasses… man. Lenses that would overwhelm the most doe-eyed Anime girl set in chintzy plastic frames that belong not in a classy British suburb, but in any of America’s finest trailer parks.
“Do You Believe in Fairies?” is set up like a morality tale – Gavin and his crew are pretty reprehensible, and you’re ready for just about any nasty thing to happen to them. But any hope you have of some sort of satisfying karmic retribution evaporates when Tim is attacked by the gnome. A diminutive actor in the stupidest, most stereotypical costume you could possibly imagine is not the way to jolt your audience into compliance with the acceptable social norms of your civilization. Frankly, the whole thing could have boiled down to our three crooks versus the Lollipop Guild from The Wizard of Oz and it would have been just as – if not more – frightening.
As if Anderson hadn’t worked hard enough to convince us he didn’t belong in a director’s chair, the short ends with Emma asking the new gardener, “Do you believe in fairies?” and then looking directly at the camera. All it was missing to achieve maximum cheesiness was a literal wink at the screen. It didn’t help that, cutting back to the framing sequence, Ed answers her before he’s strangled by a disembodied hand that has nothing to do with anything.
The framing sequence, the piss-poor attempt to tie all of this together into something cohesive, is perhaps the biggest mess of all. Starting with a shower scene that pretty much defines the word “gratuitous,” we then see Maria seduce Bruce for no apparent reason, then everyone dies for even less of a reason.
Is this film hopeless? I honestly don’t know. I watched this one alone, while Erin was at work, so it’s possible that I lost out on part of the experience of communally enjoying a crappy movie. The film does have some of the elements that make a really good bad movie too, including bad acting and terrible costumes. The problem is, I don’t know if it has enough of any of those things to make it worth watching. And frankly, having seen it once already, I don’t really feel compelled to test the theory. I won’t be revisiting this one, but if you choose to do so, I recommend getting some friends together before you start, and let me know if it’s more fun to watch it with them than I had watching this stinker by myself.
The first Reel to Reel study, Mutants, Monsters and Madmen, is now available as a $2.99 eBook in the Amazon Kindle store and Smashwords.com bookstore. And you can find links to all of my novels, collections, and short stories, in their assorted print, eBook and audio forms, at the Now Available page!
Writer: Michael Dougherty
Cast: Dylan Baker, Rochelle Aytes, Quinn Lord, Lauren Lee Smith, Moneca Delain, Tahmoh Penikett, Brett Kelly, Britt McKillip, Isabelle Deluce, Jean-Luc Bilodeau, Alberto Ghisi, Samm Todd, Anna Paquin, Brian Cox, Leslie Bibb, Connor Christopher Levins, James Willson
Plot: (Note: Trick ‘r Treat is a movie in the Robert Altman tradition – not just an anthology film, but a film in which multiple plotlines tend to weave in and out of one another. Although I’ll attempt to give as straightforward a synopsis as possible, it may be best if you just watch the movie. Come to think of it, just watch the movie anyway. It rocks.)
On Halloween night, Emma (Leslie Bibb) and Henry (Tahmoh Penikett) return home after a party. Despite Henry’s objections, Emma blows out the candle in their Jack O’Lantern and begins taking down their decorations, even as kids on the street continue trick-or-treating. Something leaps out at her, covered in a sheet, and slashes her throat open with a pumpkin-shaped lollipop sharpened into a blade. Henry comes outside later to find her head severed and limbs dismembered, dangling from a scarecrow, the lollipop stuffed in her mouth.
Earlier that evening, elsewhere in town, the streets of Warren Valley, Ohio are loaded with partiers and revelers – this is a town that takes Halloween seriously. But not everyone is ready yet. Laurie (Anna Paquin) and her friends are at the local costume shop, trying to find last-minute outfits. Laurie is reluctant to join the fun, but her sister Danielle (Lauren Lee Smith) insists. Laurie selects a Red Riding Hood costume. As they check out, Danielle invites the sales clerk to join them at a party they’re going to in the woods. After the others chide Laurie for being a virgin at 22, Laurie abandons her friends, saying she’ll meet them at the party later. She’s decided she wants to find “her guy” herself.
Elsewhere, a young boy named Charlie (Brett Kelly) marches down a street, knocking over pumpkins as he goes. He approaches the home of his school principal, Mr. Wilkins (Dylan Baker), who catches him stealing candy. As he carves a new Jack O’Lantern, he gives Charlie a lecture about respecting the dead and the traditions of the past no one cares about anymore. Charlie begin throwing up blood. Wilkins gleefully confesses that he poisoned the candy, and Charlie dies. He takes the body into the house, but is interrupted by trick-or-treaters. As he gives them candy, one of the kids asks if they could have his Jack O’Lantern for a scavenger hunt. He drags Charlie to his backyard, dumping the body into a hole where another body already waits. While working, his son Billy (Connor Christopher Levins) loudly yells for him from the window. His next interruption is the neighbor’s dog, which he distracts by throwing one of Charlie’s fingers to him… but his neighbor Mr. Kreeg (Brian Cox) comes out. As Wilkins hides in the grave, the second body squeals, not quite dead. He gives Kreeg a story about his septic tank being backed up, sending him back inside. Billy pops out again, begging to go with Wilkins to the Halloween party, but Wilkins says he can’t, he has a date. He finally manages to get the bodies buried. When he walks inside, Kreeg shrieks at him from the window, but Wilkins ignores him, and we see someone attack Kreeg. Inside, Wilkins and Billy sit down to carve their Jack O’Lantern… Charlie’s severed head. Billy sweetly tells his daddy to help him with the eyes.
The trick-or-treaters who took Wilkins’s pumpkin meet up with some other friends who’ve been gathering pumpkins. Macy (Britt McKillip) says they need more, so they visit “idiot savant” Rhonda (Samm Todd), who has carved dozens. Schrader (Jean-Luc Bilodeau) charms Rhonda into joining them. They make their way to a quarry where, according to the legend Macy tells them, 30 years ago a school bus full of mentally challenged students were taken instead. The children’s parents – exhausted and embarrassed– asked him to do “the unthinkable.” As he passes out candy and checks the chains on the students, one of them gets free and starts the bus, sending it into the lake at the bottom of the quarry. Only the driver survivs, and no one knows what happened to him. Finishing the story, Macy says they’re going to leave the Jack O’Lanterns by the lake. They manage to activate the old quarry elevator, taking Macy, Schrader and Sara (Isabelle Deluce) to the bottom. Macy says she’ll send the elevator back up for Rhonda and Chip (Alberto Ghisi).
Back at the Halloween party, a hooded figure in black kisses a girl in an alley. He bites her with a pair of fangs, drinking her blood. She flees into the streets, running into Emma and Henry and begging for help, but they think she’s just drunk. The hooded man returns, finishing her off. Laurie, meanwhile, is having no luck finding a suitable single man – until she sees the man in the hood.
At the quarry, Rhonda hears a howling in the distance and declares it to be werewolves. She and Chip take the elevator down, hearing their friends shouting for help as they come down. When they reach the bottom, the others are nowhere to be found. Rhonda leaves the frightened Chip behind and seeks the others, finding the half-submerged school bus in the lake, along with shredded and bloody remains of the other kids’ costumes. A pair of creatures emerge from the slime, and she runs. She falls into the lake, hitting her head, and the attackers reveal themselves to be Schrader, Macy and Sara – the whole thing was a cruel prank. Schrader tries to apologize, but Macy seems more irritated that their trick is over. Packing up, Macy kicks the last lit Jack O’Lantern into the lake, and voices begin to come from the water. The children from the bus crawl from the lake, pursuing the pranksters. They get back to the elevator, where Rhonda sits with her Jack O’Lanterns. The dead children approach, and Rhonda turns the elevator on, leaving her tormentors behind, screaming.
Laurie walks through the woods to her party alone, afraid she’s being pursued, until she encounters the hooded man. Danielle, at the party, is nervous for the sister her mother always called “the runt of the litter.” As she waits, a body in a Red Riding Hood cloak falls from the trees. Danielle lifts the cape to reveal the hooded man, begging for help. Laurie suddenly steps out of the trees, casually, albeit with a little blood on her. Danielle admonishes her for being late, and one of the other girls, Maria (Rochelle Aytes) removes fake fangs from the Hooded Man’s mouth. She removes his mask to reveal Principal Wilkins. She smiles, saying she’s glad he’ll be Laurie’s first. Laurie admits to Danielle that she’s nervous, and her big sister tells her to just be herself. She walks to Wilkins, sits on his chest, and transforms into a werewolf, opening her mouth wide for her first kill.
Earlier (again), a group of trick-or-treaters visits Mr. Kreeg’s house. He scares them off, taking the candy they left behind, and desperately tries to find something on television that isn’t about Halloween. He’s alerted to an intruder when his gate begins creaking, and someone begins pelting his window with eggs. He steps into the backyard, where his dog is nibbling on something and, over his fence, his neighbor is digging a hole. While they chtalkat, someone watches him from the bushes. Kreeg sees a figure running through his house – a small child in orange pajamas with a burlap sack for a mask (Quinn Lord). (“Sam,” as he’s called, has turned up several times throughout the film, watching our stories.) Kreeg goes to his bedroom, where a burning pumpkin reveals “Trick or Treat, give me something good to eat” written on the walls and ceiling, over and over again, in blood. Sam slashes his ankle with a knife hidden in a candy bar. Kreeg runs for help, slipping on candy and broken glass that sends him tumbling down the stairs. He goes to the window and begs Wilkins for help, but his neighbor ignores him and Sam leaps again. Kreeg rips off Sam’s mask, revealing a horrible pumpkin-like head. Sam finally gets the upper hand on Kreeg, approaching him with a sharpened pumpkin lollipop… but instead of stabbing him, he takes the candy Kreeg stole earlier. As Sam leaves, we see in Kreeg’s fire a burning photograph… years before, when he was a bus driver, at a home for mentally challenged children.
Later that night Kreeg, wounded and heavily bandaged, gives candy to a group of trick-or-treaters who come to his door. As he looks around the street he sees Billy Wilkins, bloody, handing out candy, Rhonda coming home with a wagon of pumpkins, Laurie and her friends driving by and giggling… and Sam, on the sidewalk, watching him. Across the street, Emma and Henry arrive at home, Henry admonishing her not to blow out the candle in their pumpkin. When she does it anyway, Sam looks down at his sharpened lollipop and walks towards their home. Kreeg drags himself back inside, but there’s one last knock on the door. The dead children from the quarry are back… and they want their candy.
Thoughts: Trick ‘r Treat is one of those movies that sat on a shelf for a few years, scoring only a limited theatrical release before coming to DVD. As such, many people dismissed it – straight-to-DVD movies have a rather negative reputation, you may have heard. But when I finally got a chance to watch the movie I realized that, not only was this a cut above most DVD-first fare, it was actually one of the best horror movies I’ve seen in a very long time.
Writer/director Michael Dougherty’s film puts its inspiration on display in the opening credits, which are structured to resemble old-fashioned horror comics of the Tales From the Crypt variety (inspiration for the TV show and movies, the Creepshow series, and countless other contemporary horrormeisters). He displays his four tales (and pieces of others) as part of a single night of insane terror across a little town, connecting them in subtle ways and using the audience’s own expectations of horror movies against it. The effect is a movie that makes you chuckle, jump, and scream, all the while giving you a brand-new horror icon that really could stand right up there with the Freddies and Jasons of the world.
The movie isn’t quite a gag-laden comedy the way a lot of the other movies in this project have been. In fact, someone unfamiliar with horror movie tropes may not find much to laugh about at all. The laughter almost always comes in when you realize the direction the story is going is not at all what you expected. In the principal’s story, for instance, Dougherty shows us early that Wilkins has no qualms about murdering a child, and when he begins showing clear frustration at Billy, we’re certain that either Billy will die or Wilkins will get some sort of cosmic comeuppance at the hands of his son. In virtually any other horror movie, in fact, that’s exactly what would happen. The end of the scene, where they tenderly begin to carve Charlie’s mutilated head up together, works brilliantly against everything a normal horror movie does, while delivering a powerful kick to close off that story (for the moment, at least).
Even more brilliant, perhaps, is the twist at the end of Laurie’s story. Dougherty sets her up perfectly as the sweet, innocent, virginal “survivor girl,” even making it seem as though she’s going to be pitted against a vampire for her grand moment of triumph. He nails us with two reversals here – first, making her the killer instead of the victim, and second, pulling a werewolf out of nowhere to close it off. Well… almost nowhere. Rhonda, earlier, did claim she heard werewolves in the woods, something that is easy to blow off the first time you watch the movie but that seems like a brilliant bit of foreshadowing on the second viewing.
Those little connected moments, by the way, also work brilliantly to make this a strong, cohesive film. Each of the four main stories could be chopped out of the anthology and shown as individual short films, and each would feel more or less complete. The connections, though, make things a lot more fun and help us connect the characters to one another and keep track, mentally, of the timeline. The movie doesn’t jump around quite as much as, say, Pulp Fiction, but it does jump.
The good thing is that the nonlinear nature of the story helps with the playfulness of the plot. When Sam kills Emma at the beginning, it seems sort of random. Okay, so she didn’t like Halloween, but surely that isn’t enough to deserve a death sentence. The callous way Henry blows off the girl who died at the party – which happened earlier but which we see later – helps bring things around to Emma getting what (in a twisted scary movie sort of way) she had coming to her. Mr. Kreeg’s story also benefits tremendously from this technique. Chronologically speaking, Sam attacks him long before we hear the story at the quarry, but had the film been shown in that order, the burning photograph would have been meaningless. We would have picked up the meaning later, but it would have robbed the story at the quarry of much of the impact. What’s more, when the dead children drag themselves out of the lake, it’s the first time the movie shows anything that’s explicitly supernatural. Rearranging the story would undercut that, and lord only knows what it would do the werewolf story.
Then there’s our new horror icon. Sam, at first, appears to be just a sort of playful phantasm, something that appears everywhere. He gets candy from Wilkins, visits the massacre at the quarry, and observes the murders at Laurie’s party. At first, he’s actually cute. He comes across as a mischievous little sprite that seems to be a watcher of sorts, but not actually connected to the chaos around him. The encounter at Kreeg’s house changes all that, of course, and does so in a clever way. Without actually spelling things out, Dougherty reveals why Sam is after Kreeg, ties many of the stories together, and makes the jolly little pixie truly horrific. You even understand – kinda – why Sam decides to let Kreeg live at the end. (It’s telling that perhaps the most disturbing part is that when Sam is injured, he doesn’t explode in blood, but in pumpkin seeds and entrails.)
Dougherty and producer Bryan Singer have been working for a few years to get a sequel to this film made. Although progress is slow, unlike the perpetually-stalled Behind the Mask sequel, it seems like this one will make it to the screen sooner or later – the movie is not only critically acclaimed, but eventually achieved solid commercial success on DVD. The FearNet TV channel has also embraced the film, having Dougherty direct several holiday shorts starring Sam and showing the film for 24 hours on Halloween, mimicking the success of A Christmas Story on TBS. In fact, if you’ve never watched this movie and you get the FearNet network, there’s the perfect chance to rectify this egregious error. Just check out the various shorts on YouTube, then set the DVR or carve out any two-hour block on Halloween night, and prepare to discover a movie that has become a tradition for horror fans everywhere.