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Late to the Party: The Changeling (1980)

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It’s Wednesday, which means it’s time to feel a false sense of comfort about being mid-way through the work week! Also, it’s time for another edition of Late to the Party, the series in which iHorror writers realize we’re horribly behind on some cult classics and fan favorites. As we gradually rectify those genre fandom faux pas, we share our thoughts with you, the reader. This week I took some time to watch a 1980 classic, The Changeling.

I’d been meaning to watch The Changeling for quite some time as it’s a Canadian horror classic. With Canadian Film Day coming up on April 19th, this seemed like an appropriate time to finally check it off my list.

The film follows a composer, John Russell (George C. Scott, Patton), who moves to a gorgeous Victorian mansion in Seattle after the untimely deaths of his wife and daughter. The property is rented from the local historical society and has been vacant for 12 years.

via IMDb

As is usually the case with these scenarios, the house is definitely haunted. John enlists help from historical society agent Claire Norman (Trish Van Devere, The Last Run and – fun fact – wife to actor George C. Scott) to help solve the mystery of what the heck is going on in this dang house.

John holds a séance in his home, secrets are revealed, and the plot thickens.

Playwright Russell Hunter was inspired to write the story of The Changeling after his own haunting experiences at the Henry Treat Rogers mansion in Denver, Colorado in the late 1960s. Though the screenplay was written by William Gray and Diana Maddox, the events follow Hunter’s story very closely – with some dramatic flair and embellishment, of course.

via IMDb

I was thoroughly impressed by The Changeling‘s ability to move through the cavernous and stunning mansion with fluid ease. The cinematography is beautifully done; the camera glides through the house to share its love affair with the antique architecture and support the feeling that we’re a silent – spectral? – observer.

When the camera is still, your eye is drawn directly to what the director wants you to see and it evokes emotion and reaction in a fantastic way. The opening scene where we witness the accident that takes the lives of John’s wife and daughter, for example, connects the audience’s attention to the action in a way that we know exactly what is going to happen before the tragedy hits. We see John make this same connection and I physically cringed in anticipation of the big crash.

There’s another scene where John is playing the piano in his new home (one of many – he’s a composer, after all). A door behind him slowly swings open, but because of how the shot is framed and the direction that the door opens, we can’t see who is behind it until the slow creak reaches its dramatic conclusion. It’s brilliant.

Director Peter Medak and Cinematographer John Coquillon really deserve more praise for this film.

via IMDb

The use of sound in The Changeling is also vitally important. The creaks, bangs, and heavy silences work with the orchestral score in a way that initially conveys a sharp dichotomy, but as the film continues, the soft, comforting classical music gives way to a more obviously jarring score.

The music progresses with the film, making the audience feel – or at least hear – the haunting’s escalation.

via IMDb

I do also have to praise this film for telling John’s story in a way that doesn’t shy away from his personal grief. While John is in the process of moving on from his horrific loss, he’s not okay – and that’s actually great to see.

We know John still has these drifting memories of his family. We see his subtle reactions to his daughter’s favorite toy. We witness this grown-ass man in a vulnerable and emotional state.

That being said, he approaches this new mystery in a completely open way. He’s methodical in his search for answers and doesn’t try to convince himself that he’s just tired or seeing things. John does not try to discredit his own feelings or thoughts, which is so important when dealing with any kind of trauma.

It’s oddly refreshing (from a movie made in 1980).

via IMDb

Also, I would be remiss if I didn’t mention the actual horror of it all. There are genuinely scary moments here – the séance scene in particular reminded me a lot of the séance in Insidious. It’s easy to see the influence this film had on others in the genre.

I should also give a shout out to the don’t-call-it-a-flashback scene in which we learn about what tragedy happened to the ghost that haunts the house. It’s tense and very unsettling.

via IMDb

Overall, I was surprised by how much I liked The Changeling. You need to expect a difference in pacing with older horror films, absolutely, but the personal elements of the story and characters as well as the stunning composition of the film itself really won me over.

 

Check back with us next week to see what other parties we’ve been late to!

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‘Happy Death Day 3’ Only Needs Greenlight From Studio

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Jessica Rothe who is currently starring in the ultra-violent Boy Kills World talked to ScreenGeek at WonderCon and gave them an exclusive update about her franchise Happy Death Day.

The horror time-looper is a popular series that did pretty well at the box office especially the first one which introduced us to the bratty Tree Gelbman (Rothe) who is being stalked by a masked killer. Christopher Landon directed the original and its sequel Happy Death Day 2U.

Happy Death Day 2U

According to Rothe, a third is being proposed, but two major studios need to sign off on the project. Here is what Rothe had to say:

“Well, I can say Chris Landon has the whole thing figured out. We just need to wait for Blumhouse and Universal to get their ducks in a row. But my fingers are so crossed. I think Tree [Gelbman] deserves her third and final chapter to bring that incredible character and franchise to a close or a new beginning.”

The movies delve into sci-fi territory with their repeated wormhole mechanics. The second leans heavily into this by utilizing an experimental quantum reactor as a plot device. Whether this apparatus will play into the third film isn’t clear. We will have to wait for the studio’s thumbs up or thumbs down to find out.

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Will ‘Scream VII’ Focus on The Prescott Family, Kids?

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Since the beginning of the Scream franchise, it seems there have been NDAs handed out to the cast to not reveal any plot details or casting choices. But clever internet sleuths can pretty much find anything these days thanks to the World Wide Web and report what they find as conjecture instead of fact. It’s not the best journalistic practice, but it gets buzz going and if Scream has done anything well over the past 20-plus years it’s creating buzz.

In the latest speculation of what Scream VII will be about, horror movie blogger and deduction king Critical Overlord posted in early April that casting agents for the horror movie are looking to hire actors for children’s roles. This has led to some believing Ghostface will target Sidney’s family bringing the franchise back to its roots where our final girl is once again vulnerable and afraid.

It is common knowledge now that Neve Campbell is returning to the Scream franchise after being low-balled by Spyglass for her part in Scream VI which led to her resignation. It’s also well-known that Melissa Barrera and Jenna Ortega won’t be back any time soon to play their respective roles as sisters Sam and Tara Carpenter. Execs scrambling to find their bearings got broadsided when director Cristopher Landon said he would also not be going forward with Scream VII as originally planned.

Enter Scream creator Kevin Williamson who is now directing the latest installment. But the Carpenter’s arc has been seemingly scrapped so which direction will he take his beloved films? Critical Overlord seems to think it will be a familial thriller.

This also piggy-backs news that Patrick Dempsey might return to the series as Sidney’s husband which was hinted at in Scream V. Additionally, Courteney Cox is also considering reprising her role as the badass journalist-turned-author Gale Weathers.

As the film starts filming in Canada sometime this year, it will be interesting to see how well they can keep the plot under wraps. Hopefully, those who don’t want any spoilers can avoid them through production. As for us, we liked an idea that would bring the franchise into the mega-meta universe.

This will be the third Scream sequel not directed by Wes Craven.

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‘Late Night With the Devil’ Brings The Fire to Streaming

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With as successful as a niche independent horror film can be at the box office, Late Night With the Devil is doing even better on streaming. 

The halfway-to-Halloween drop of Late Night With the Devil in March wasn’t out for even a month before it headed to streaming on April 19 where it remains as hot as Hades itself. It has the best opening ever for a movie on Shudder.

In its theatrical run, it is reported that the film took in $666K at the end of its opening weekend. That makes it the highest-grossing opener ever for a theatrical IFC film

Late Night With the Devil

“Coming off a record-breaking theatrical run, we’re thrilled to give Late Night its streaming debut on Shudder, as we continue to bring our passionate subscribers the very best in horror, with projects that represent the depth and breadth of this genre,” Courtney Thomasma, the EVP of streaming programming at AMC Networks told CBR. “Working alongside our sister company IFC Films to bring this fantastic film to an even broader audience is another example of the great synergy of these two brands and how the horror genre continues to resonate and be embraced by fans.”

Sam Zimmerman, Shudder’s VP of Programming loves that Late Night With the Devil fans are giving the film a second life on streaming. 

Late Night’s success across streaming and theatrical is a win for the kind of inventive, original genre that Shudder and IFC Films aim for,” he said. “A huge congratulations to the Cairnes and the fantastic filmmaking team.”

Since the pandemic theatrical releases have had a shorter shelf life in multiplexes thanks to the saturation of studio-owned streaming services; what took several months to hit streaming a decade ago now only takes several weeks and if you happen to be a niche subscription service like Shudder they can skip the PVOD market altogether and add a film directly to their library. 

Late Night With the Devil is also an exception because it received high praise from critics and therefore word of mouth fueled its popularity. Shudder subscribers can watch Late Night With the Devil right now on the platform.

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