Entries Tagged '1977' ↓

Day 20 – "Then I am a freak, the girls are right!"


When I first reviewed Audrey Rose (1977) for a SHOCKtober past--2009, to be precise--I found it fine but disappointing because I'd been told it was terrifying, not only by someone I knew but also by the VHS box for it. Since it appeared as one of a lone reader's favorite horror movies on the 2020 list, I thought this year would be a good time to revisit it to see if I would enjoy it more than I did way back when.


Spoiler alert, no I did not! In fact, I think I enjoyed it less!

It's got a fine birth year in 1977. It's got a fine cast in Anthony Hopkins, Marsha Mason, John Beck of television's Dallas. It's got a fine director in Robert Wise. He directed The Haunting for chrissakes! 

What I remembered from last time, mostly, is that there is so much screaming and crying, and Anthony Hopkins says "Audrey Rose!" a lot. What I didn't remember is that Marsha Mason really doesn't have much to do beyond this:

Even she has admitted she disliked the role: "All I did was cry!"

I'd also forgotten just how little horror there is in all the drama. I'm good with that kind of thing usually, but once this really gets to the courtroom plotline, it is just glacial and dull and I start dreaming about the fantastic horror movie it could have been. That's pointless, I know, and unfair to the film Audrey Rose actually is. I don't care! I also know I'm giving a shitty "review" this time, and I don't care about that either! (That 2009 review is a bit more in-depth, if you are interested.) This movie made me cranky. Is that the movie's fault? I'm not sure!

But I do know that I'm counting my blessings that Chris MacNeil was a single mother, because she could and did do whatever it took to get help for her daughter and wasn't clamjammed by her stubborn husband.  

Well, I have given this film two tries and I think that's enough to say "I am happy for that reader who calls it a favorite, but it is definitely not for me." If you catch me trying it again during SHOCKtober in 2037, please knock the videotape out of my hand!

A Bava by any other name

Anybody who's into Italian horror movies at all knows that figuring out how "franchises" work can be, to put it mildly, an experience on par with falling into a room full of razor wire. Every movie has 85 different titles in Italy alone, many of which insert them into any old series for whatever reason. Of course, the Zombie films are notorious for this, so much so that two people discussing the same movie will come off looking like they're in an Abbott and Costello skit as directed by Erwin Schrödinger.

"Do you like Zombie?"

"You mean Zombi 2?"

"I mean Zombie, like Zombie 1, I guess."

"Zombie 1 is Zombi 2."

That's only scratching the surface of the fuckery behind that film alone. I mean, let's not forget Zombi/e 3, a title that has been given to Let Sleeping Corpses Lie, Nightmare City, Burial Ground: The Nights of Terror, and Zombie Flesh Eaters 2. Then we have The Church, which is also sometimes called Demons 3...but then there's also Demons 3, which is also called Black Demons, and there's Demons III: The Ogre, which has nothing to do with the Demons series. You need a fucking Rosetta Stone and a PhD in quantum physics to sort this shit out!

My point is, Beyond the Door II isn't a sequel to Beyond the Door whatsoever. They merely share an actor, who isn't even playing the same character in both films. Yes, that is akin to calling Little Women "Midsommar II" because Florence Pugh appears in each. Then you go see Little Women and you're like "Okay, this is a sequel, so when do the little women jump off of cliffs and/or set their boyfriends on fire...?" 

(To be fair, maybe they do that in Greta Gerwig's Little Women, I don't know, I've never seen it.)

So! Since Mario Bava's Beyond the Door II (1977) is not actually, you know, Beyond the Door II, I'll be using its Italian title, Shock. I'm sure you already know it by that title, since 1) I think it's the preferred title nowadays, even in these here United States, and 2) only the hippest, most in-the-know people read this blog. 

And because you are therefore hip and in-the-know, I bet you're also well aware that

SHOCK RULES!


Seven years after her drug-addict husband's suicide and her subsequent nervous breakdown, Dora (Daria Nicolodi) moves back to the home they shared with her son Marco (David Colin Jr, your link to Beyond the Door!) and new husband Bruno (John Steiner). It's not long before everyone starts acting a bit weird: Dora gets increasingly paranoid, Marco gets increasingly hostile towards his mother, and Bruno hides the key to the locked basement. Is Dora headed for another breakdown? What's going on in this house? And as Aretha Franklin might ask, who, exactly, is zoomin' who?

Early on in the proceedings, as the family settles into their new-old digs, the score by I Libra (featuring ex-Goblin member Maurizio Guarini) does much of the heavy lifting in establishing some kind of mood or atmosphere, letting us know that, say, a Slinky coming down the stairs or a shot of a bookcase should be considered scary. As you begin to wonder what this movie is getting at, however, the happenings get trippier and trippier, the requisite chunky and painful-looking white contacts appear, and the blood starts flowing through a series of twists and turns that lead to a wholly satisfying payoff. A payoff that makes sense! In an Italian horror movie! Can you believe it?

this is some Amityville shit

Shock doesn't have the candy-colored aesthetics and obvious location trappings that those familiar with Bava's work might expect, which makes it all the more astonishing that the film's contemporary 70s Italian country home comes to feel ten kinds of spooky and gothic all the same. Why...maybe bookcases and Slinkies are scary!


There's no shortage of the in-camera tricks and effects that the director is famous for, though, particularly when the film takes on a kind of dream-logic state. This includes this famous shot, one of the absolute coolest, most iconic jump scares in horror (and which was aped to far, far lesser effect in...sigh...Annabelle):


More than anything else, Shock is an incredible vehicle for Daria Nicolodi, her personal favorite performance and one rivaled only, perhaps, by her turn in Deep Red. Her slow transformation from doting mother and wife to fraught Woman on the Edge plays to all of her strengths as an actress, particularly her expressiveness and physicality. Her vibe in this--with her long hair, wide eyes, and flowing dresses and nightgowns--adds to the unexpected gothic atmosphere and brings to mind Isabelle Adjani in Herzog's Nosferatu, which rose from the grave two years after Shock.




This is Bava's last film and something of a torch-passing to his son Lamberto, who is credited as assistant director but widely regarded as co-director, ostensibly making this his first film. I'm not sure how well Shock is regarded in pater Bava's filmography; it's certainly not cited as a great by horror fans as often as A Bay of Blood, Black Sabbath, or Black Sunday are. But who cares! This was my long LONG overdue first viewing and I frigging loved this. It's part haunted house movie, part possession movie, part mystery, part psychological thriller and ALL parts wicked cool as hell. Everyone who's hip and in-the-know knows!

VHS Week Day 14: MARTIN (1977)


George A. Romero: he's more than just zombies. I know that you know that, you're savvy and learned. I'm simply pointing it out to the total horror noobs who only know Romero from his three (AND ONLY THREE) (okay, maybe Land of the Dead is kind of fun to watch once, but THAT'S IT) great zombie films: Night of the Living Dead, Dawn of the Dead, and Brunch Day of the Dead. Though the films are often overlooked, Romero has explored horror in ways far removed from those undead shuffling people-eaters. One such film is 1977's Martin.

Set amidst the depressed, crumbling landscape of fading steel town Braddock, PA, Martin tells the tale of...well, of Martin (John Amplas), who believes himself to be a vampire. His elderly cousin Cuda also believes that Martin is a vampire. It's been a family curse for generations, and while Cuda allows Martin to live with him, he also makes the young man a promise: "First I will save your soul...then I will destroy you." But is Martin actually a vampire? Or is he simply a kookadook?


Romero isn't interested in definitive answers as much as he is in deconstructing the vampire genre and deromanticizing the myths. Regardless of Martin's true nature, he's no gothic-flavored bloodsucker from a Hammer production; nor is he a terrifying, otherworldly creature à la Salem's Lot's Mr. Barlow. Garlic, crosses, and sunlight give Martin no pause. He's incapable of mesmerizing victims into submission, so he relies on drug injections to do it for him. He has no fangs, so he wields a razor blade. Martin's reality is completely unlike the bodice-rippers and monsters we're accustomed to calling "vampire."

Martin is rife with the same types of simple metaphors and symbolism that Romero incorporates into many of his films. It's an examination of sexual repression and insecurity as well as a swipe at religion, particularly the ways in which staunch religious beliefs can twist a person or a family. The "family curse"–what Cuda claims is the curse of Nosferatu–can be seen as any kind of "otherness" or perhaps it's merely hereditary mental illness.

Aside from all of this, Martin works fairly well as a straight-up horror movie. Because the attacks rarely go as smoothly as Martin plans, they're prolonged and all the more shocking as his victims fight back. While it's easy to feel sympathy for poor, confused Martin, there's no doubt that he is a monster. Whether he's of the mythical or the mundane variety, though, that's for you to decide.

VHS Week Day 14: MARTIN (1977)


George A. Romero: he's more than just zombies. I know that you know that, you're savvy and learned. I'm simply pointing it out to the total horror noobs who only know Romero from his three (AND ONLY THREE) (okay, maybe Land of the Dead is kind of fun to watch once, but THAT'S IT) great zombie films: Night of the Living Dead, Dawn of the Dead, and Brunch Day of the Dead. Though the films are often overlooked, Romero has explored horror in ways far removed from those undead shuffling people-eaters. One such film is 1977's Martin.

Set amidst the depressed, crumbling landscape of fading steel town Braddock, PA, Martin tells the tale of...well, of Martin (John Amplas), who believes himself to be a vampire. His elderly cousin Cuda also believes that Martin is a vampire. It's been a family curse for generations, and while Cuda allows Martin to live with him, he also makes the young man a promise: "First I will save your soul...then I will destroy you." But is Martin actually a vampire? Or is he simply a kookadook?


Romero isn't interested in definitive answers as much as he is in deconstructing the vampire genre and deromanticizing the myths. Regardless of Martin's true nature, he's no gothic-flavored bloodsucker from a Hammer production; nor is he a terrifying, otherworldly creature à la Salem's Lot's Mr. Barlow. Garlic, crosses, and sunlight give Martin no pause. He's incapable of mesmerizing victims into submission, so he relies on drug injections to do it for him. He has no fangs, so he wields a razor blade. Martin's reality is completely unlike the bodice-rippers and monsters we're accustomed to calling "vampire."

Martin is rife with the same types of simple metaphors and symbolism that Romero incorporates into many of his films. It's an examination of sexual repression and insecurity as well as a swipe at religion, particularly the ways in which staunch religious beliefs can twist a person or a family. The "family curse"–what Cuda claims is the curse of Nosferatu–can be seen as any kind of "otherness" or perhaps it's merely hereditary mental illness.

Aside from all of this, Martin works fairly well as a straight-up horror movie. Because the attacks rarely go as smoothly as Martin plans, they're prolonged and all the more shocking as his victims fight back. While it's easy to feel sympathy for poor, confused Martin, there's no doubt that he is a monster. Whether he's of the mythical or the mundane variety, though, that's for you to decide.

VHS Week Day 14: MARTIN (1977)


George A. Romero: he's more than just zombies. I know that you know that, you're savvy and learned. I'm simply pointing it out to the total horror noobs who only know Romero from his three (AND ONLY THREE) (okay, maybe Land of the Dead is kind of fun to watch once, but THAT'S IT) great zombie films: Night of the Living Dead, Dawn of the Dead, and Brunch Day of the Dead. Though the films are often overlooked, Romero has explored horror in ways far removed from those undead shuffling people-eaters. One such film is 1977's Martin.

Set amidst the depressed, crumbling landscape of fading steel town Braddock, PA, Martin tells the tale of...well, of Martin (John Amplas), who believes himself to be a vampire. His elderly cousin Cuda also believes that Martin is a vampire. It's been a family curse for generations, and while Cuda allows Martin to live with him, he also makes the young man a promise: "First I will save your soul...then I will destroy you." But is Martin actually a vampire? Or is he simply a kookadook?


Romero isn't interested in definitive answers as much as he is in deconstructing the vampire genre and deromanticizing the myths. Regardless of Martin's true nature, he's no gothic-flavored bloodsucker from a Hammer production; nor is he a terrifying, otherworldly creature à la Salem's Lot's Mr. Barlow. Garlic, crosses, and sunlight give Martin no pause. He's incapable of mesmerizing victims into submission, so he relies on drug injections to do it for him. He has no fangs, so he wields a razor blade. Martin's reality is completely unlike the bodice-rippers and monsters we're accustomed to calling "vampire."

Martin is rife with the same types of simple metaphors and symbolism that Romero incorporates into many of his films. It's an examination of sexual repression and insecurity as well as a swipe at religion, particularly the ways in which staunch religious beliefs can twist a person or a family. The "family curse"–what Cuda claims is the curse of Nosferatu–can be seen as any kind of "otherness" or perhaps it's merely hereditary mental illness.

Aside from all of this, Martin works fairly well as a straight-up horror movie. Because the attacks rarely go as smoothly as Martin plans, they're prolonged and all the more shocking as his victims fight back. While it's easy to feel sympathy for poor, confused Martin, there's no doubt that he is a monster. Whether he's of the mythical or the mundane variety, though, that's for you to decide.

VHS Week Day 14: MARTIN (1977)


George A. Romero: he's more than just zombies. I know that you know that, you're savvy and learned. I'm simply pointing it out to the total horror noobs who only know Romero from his three (AND ONLY THREE) (okay, maybe Land of the Dead is kind of fun to watch once, but THAT'S IT) great zombie films: Night of the Living Dead, Dawn of the Dead, and Brunch Day of the Dead. Though the films are often overlooked, Romero has explored horror in ways far removed from those undead shuffling people-eaters. One such film is 1977's Martin.

Set amidst the depressed, crumbling landscape of fading steel town Braddock, PA, Martin tells the tale of...well, of Martin (John Amplas), who believes himself to be a vampire. His elderly cousin Cuda also believes that Martin is a vampire. It's been a family curse for generations, and while Cuda allows Martin to live with him, he also makes the young man a promise: "First I will save your soul...then I will destroy you." But is Martin actually a vampire? Or is he simply a kookadook?


Romero isn't interested in definitive answers as much as he is in deconstructing the vampire genre and deromanticizing the myths. Regardless of Martin's true nature, he's no gothic-flavored bloodsucker from a Hammer production; nor is he a terrifying, otherworldly creature à la Salem's Lot's Mr. Barlow. Garlic, crosses, and sunlight give Martin no pause. He's incapable of mesmerizing victims into submission, so he relies on drug injections to do it for him. He has no fangs, so he wields a razor blade. Martin's reality is completely unlike the bodice-rippers and monsters we're accustomed to calling "vampire."

Martin is rife with the same types of simple metaphors and symbolism that Romero incorporates into many of his films. It's an examination of sexual repression and insecurity as well as a swipe at religion, particularly the ways in which staunch religious beliefs can twist a person or a family. The "family curse"–what Cuda claims is the curse of Nosferatu–can be seen as any kind of "otherness" or perhaps it's merely hereditary mental illness.

Aside from all of this, Martin works fairly well as a straight-up horror movie. Because the attacks rarely go as smoothly as Martin plans, they're prolonged and all the more shocking as his victims fight back. While it's easy to feel sympathy for poor, confused Martin, there's no doubt that he is a monster. Whether he's of the mythical or the mundane variety, though, that's for you to decide.

VHS Week Day 11: THE HAUNTING OF JULIA (1977)


It is quite fitting that The Haunting of Julia is better known as Full Circle because friends, my brain with regards to Final Girl is coming full circle. Or, okay, not quite full circle. More like my brain and this blog are forming something that is sort of like a möbius strip slowly sinking into quicksand. Time is folding in on itself and tearing apart. This has all happened before and it will all happen again. Up is down, dogs and cats are getting married, and, as usual, I can't find my pants.

Look, what I'm trying to say is that I've already reviewed this movie here! It was even a gotdanged Film Club choice! I knew I'd seen it–several times, in fact. I'm not that crazy. But as I never added The Haunting of Julia to the looonnng list of review links when we talked about it 3+ years ago, I plumb forgot I wrote about it. I watched it again for VHS Week, wrote down a bunch of notes...and then found the old review, which touches on basically everything I wrote down in my notes. I've talked about a lot of movies here and this blog is over ten years old and I am over 81 years old so give me a break.

So you know what? I'm not gonna try to come up with new ways to say the same things, nor am I going to make you click something and go to another page. That's right–I'm cuttin' and pastin' and no one can stop me. The old review is in between the pics.


You know what I love about Mia Farrow? It's the way she appears so vulnerable and fragile–what with her slight frame and her look of bewilderment and her delicate features–but she's got such a goddamn spine to her. I find myself wanting to protect her (or, I suppose I should say, characters she portrays, like Rosemary Woodhouse and Julia Lofting), but when push comes to shove she proves she won't be pushed or shoved.

And so after the tragic death of her young daughter and a breakdown, Julia ups and abandons her husband Magnus (Keir Dullea) on the spur of the moment as she leaves the hospital. Before long, Julia is...wait for it...haunted. But by what? The spirit of her daughter? Her own guilt? The spirit of the house's former resident? Unlike nearly every other supernatural flick on the market, The Haunting of Julia keeps all the goings-on vague and subtle, so much so that we're hard-pressed to discern whether or not there's any haunting going on at all. There aren't any Poltergeist-style furniture-flying-around-on-its-own theatrics to be found; sure, there's some bloodshed and casualties, but it's more about atmosphere or, as Julia puts it, the "feeling of hate" that engulfs her home.

Still, what's a good ghost story without some sort of mystery to be solved (not to mention that since it's a 70s film, there's a good old fashioned séance to boot)? And boy, Julia uncovers a good one–a downright chilling one, with a ghost that could give The Ring's Samara a lesson or two in evil. A note to wayward ghosts everywhere: I'm not fucking helping you, you're on your own.

The Haunting of Julia is a quiet film that will get under your skin more that it will outright scare you, and if quiet-n-subdued ain't your bag, it will undoubtedly get on your nerves more than it will get under your skin. But if you're in the mood for some precious blonde daughter dies early on and does she come back as a ghost or is her mother just mad with guilt? horror (that's totally a subgenre, you know), pair this up with Don't Look Now and go nuts!


As I said, there are no spook house histrionics to be found. There is grief so intense that it presses down upon you. There is a subtle unease throughout and by the time we get to the ending–and what an ending it is–the cumulative effect of this sad, chilling tale is incredibly powerful. But there are no easy answers, which may prove frustrating if you don't fall under Julia's spell.

There are plenty of similar films from the era that fans love to talk about: Don't Look Now, The Changeling, Burnt Offerings...films that have shocking, memorable moments worth recounting. The Haunting of Julia isn't "iconic" in that way (no red balls bouncing down the stairs, no homicidal dwarves), but it's absolutely worth adding to the pantheon. It's got a devoted following even as it's been completely neglected since the days of VHS. What I wouldn't give for a restored version, one that wasn't overly dark at times, one that doesn't snap and crackle, one that doesn't sound like there's a generator running just offscreen the entire time. Should it ever finally get the home release love it deserves, I'm sure I'll review it again, having forgotten all about the time I spent writing this post. No offense or anything, you're great. It's not you, it's me.

Wait, what was I talking about?

VHS Week Day 11: THE HAUNTING OF JULIA (1977)


It is quite fitting that The Haunting of Julia is better known as Full Circle because friends, my brain with regards to Final Girl is coming full circle. Or, okay, not quite full circle. More like my brain and this blog are forming something that is sort of like a möbius strip slowly sinking into quicksand. Time is folding in on itself and tearing apart. This has all happened before and it will all happen again. Up is down, dogs and cats are getting married, and, as usual, I can't find my pants.

Look, what I'm trying to say is that I've already reviewed this movie here! It was even a gotdanged Film Club choice! I knew I'd seen it–several times, in fact. I'm not that crazy. But as I never added The Haunting of Julia to the looonnng list of review links when we talked about it 3+ years ago, I plumb forgot I wrote about it. I watched it again for VHS Week, wrote down a bunch of notes...and then found the old review, which touches on basically everything I wrote down in my notes. I've talked about a lot of movies here and this blog is over ten years old and I am over 81 years old so give me a break.

So you know what? I'm not gonna try to come up with new ways to say the same things, nor am I going to make you click something and go to another page. That's right–I'm cuttin' and pastin' and no one can stop me. The old review is in between the pics.


You know what I love about Mia Farrow? It's the way she appears so vulnerable and fragile–what with her slight frame and her look of bewilderment and her delicate features–but she's got such a goddamn spine to her. I find myself wanting to protect her (or, I suppose I should say, characters she portrays, like Rosemary Woodhouse and Julia Lofting), but when push comes to shove she proves she won't be pushed or shoved.

And so after the tragic death of her young daughter and a breakdown, Julia ups and abandons her husband Magnus (Keir Dullea) on the spur of the moment as she leaves the hospital. Before long, Julia is...wait for it...haunted. But by what? The spirit of her daughter? Her own guilt? The spirit of the house's former resident? Unlike nearly every other supernatural flick on the market, The Haunting of Julia keeps all the goings-on vague and subtle, so much so that we're hard-pressed to discern whether or not there's any haunting going on at all. There aren't any Poltergeist-style furniture-flying-around-on-its-own theatrics to be found; sure, there's some bloodshed and casualties, but it's more about atmosphere or, as Julia puts it, the "feeling of hate" that engulfs her home.

Still, what's a good ghost story without some sort of mystery to be solved (not to mention that since it's a 70s film, there's a good old fashioned séance to boot)? And boy, Julia uncovers a good one–a downright chilling one, with a ghost that could give The Ring's Samara a lesson or two in evil. A note to wayward ghosts everywhere: I'm not fucking helping you, you're on your own.

The Haunting of Julia is a quiet film that will get under your skin more that it will outright scare you, and if quiet-n-subdued ain't your bag, it will undoubtedly get on your nerves more than it will get under your skin. But if you're in the mood for some precious blonde daughter dies early on and does she come back as a ghost or is her mother just mad with guilt? horror (that's totally a subgenre, you know), pair this up with Don't Look Now and go nuts!


As I said, there are no spook house histrionics to be found. There is grief so intense that it presses down upon you. There is a subtle unease throughout and by the time we get to the ending–and what an ending it is–the cumulative effect of this sad, chilling tale is incredibly powerful. But there are no easy answers, which may prove frustrating if you don't fall under Julia's spell.

There are plenty of similar films from the era that fans love to talk about: Don't Look Now, The Changeling, Burnt Offerings...films that have shocking, memorable moments worth recounting. The Haunting of Julia isn't "iconic" in that way (no red balls bouncing down the stairs, no homicidal dwarves), but it's absolutely worth adding to the pantheon. It's got a devoted following even as it's been completely neglected since the days of VHS. What I wouldn't give for a restored version, one that wasn't overly dark at times, one that doesn't snap and crackle, one that doesn't sound like there's a generator running just offscreen the entire time. Should it ever finally get the home release love it deserves, I'm sure I'll review it again, having forgotten all about the time I spent writing this post. No offense or anything, you're great. It's not you, it's me.

Wait, what was I talking about?

VHS Week Day 11: THE HAUNTING OF JULIA (1977)


It is quite fitting that The Haunting of Julia is better known as Full Circle because friends, my brain with regards to Final Girl is coming full circle. Or, okay, not quite full circle. More like my brain and this blog are forming something that is sort of like a möbius strip slowly sinking into quicksand. Time is folding in on itself and tearing apart. This has all happened before and it will all happen again. Up is down, dogs and cats are getting married, and, as usual, I can't find my pants.

Look, what I'm trying to say is that I've already reviewed this movie here! It was even a gotdanged Film Club choice! I knew I'd seen it–several times, in fact. I'm not that crazy. But as I never added The Haunting of Julia to the looonnng list of review links when we talked about it 3+ years ago, I plumb forgot I wrote about it. I watched it again for VHS Week, wrote down a bunch of notes...and then found the old review, which touches on basically everything I wrote down in my notes. I've talked about a lot of movies here and this blog is over ten years old and I am over 81 years old so give me a break.

So you know what? I'm not gonna try to come up with new ways to say the same things, nor am I going to make you click something and go to another page. That's right–I'm cuttin' and pastin' and no one can stop me. The old review is in between the pics.


You know what I love about Mia Farrow? It's the way she appears so vulnerable and fragile–what with her slight frame and her look of bewilderment and her delicate features–but she's got such a goddamn spine to her. I find myself wanting to protect her (or, I suppose I should say, characters she portrays, like Rosemary Woodhouse and Julia Lofting), but when push comes to shove she proves she won't be pushed or shoved.

And so after the tragic death of her young daughter and a breakdown, Julia ups and abandons her husband Magnus (Keir Dullea) on the spur of the moment as she leaves the hospital. Before long, Julia is...wait for it...haunted. But by what? The spirit of her daughter? Her own guilt? The spirit of the house's former resident? Unlike nearly every other supernatural flick on the market, The Haunting of Julia keeps all the goings-on vague and subtle, so much so that we're hard-pressed to discern whether or not there's any haunting going on at all. There aren't any Poltergeist-style furniture-flying-around-on-its-own theatrics to be found; sure, there's some bloodshed and casualties, but it's more about atmosphere or, as Julia puts it, the "feeling of hate" that engulfs her home.

Still, what's a good ghost story without some sort of mystery to be solved (not to mention that since it's a 70s film, there's a good old fashioned séance to boot)? And boy, Julia uncovers a good one–a downright chilling one, with a ghost that could give The Ring's Samara a lesson or two in evil. A note to wayward ghosts everywhere: I'm not fucking helping you, you're on your own.

The Haunting of Julia is a quiet film that will get under your skin more that it will outright scare you, and if quiet-n-subdued ain't your bag, it will undoubtedly get on your nerves more than it will get under your skin. But if you're in the mood for some precious blonde daughter dies early on and does she come back as a ghost or is her mother just mad with guilt? horror (that's totally a subgenre, you know), pair this up with Don't Look Now and go nuts!


As I said, there are no spook house histrionics to be found. There is grief so intense that it presses down upon you. There is a subtle unease throughout and by the time we get to the ending–and what an ending it is–the cumulative effect of this sad, chilling tale is incredibly powerful. But there are no easy answers, which may prove frustrating if you don't fall under Julia's spell.

There are plenty of similar films from the era that fans love to talk about: Don't Look Now, The Changeling, Burnt Offerings...films that have shocking, memorable moments worth recounting. The Haunting of Julia isn't "iconic" in that way (no red balls bouncing down the stairs, no homicidal dwarves), but it's absolutely worth adding to the pantheon. It's got a devoted following even as it's been completely neglected since the days of VHS. What I wouldn't give for a restored version, one that wasn't overly dark at times, one that doesn't snap and crackle, one that doesn't sound like there's a generator running just offscreen the entire time. Should it ever finally get the home release love it deserves, I'm sure I'll review it again, having forgotten all about the time I spent writing this post. No offense or anything, you're great. It's not you, it's me.

Wait, what was I talking about?

VHS Week Day 11: THE HAUNTING OF JULIA (1977)


It is quite fitting that The Haunting of Julia is better known as Full Circle because friends, my brain with regards to Final Girl is coming full circle. Or, okay, not quite full circle. More like my brain and this blog are forming something that is sort of like a möbius strip slowly sinking into quicksand. Time is folding in on itself and tearing apart. This has all happened before and it will all happen again. Up is down, dogs and cats are getting married, and, as usual, I can't find my pants.

Look, what I'm trying to say is that I've already reviewed this movie here! It was even a gotdanged Film Club choice! I knew I'd seen it–several times, in fact. I'm not that crazy. But as I never added The Haunting of Julia to the looonnng list of review links when we talked about it 3+ years ago, I plumb forgot I wrote about it. I watched it again for VHS Week, wrote down a bunch of notes...and then found the old review, which touches on basically everything I wrote down in my notes. I've talked about a lot of movies here and this blog is over ten years old and I am over 81 years old so give me a break.

So you know what? I'm not gonna try to come up with new ways to say the same things, nor am I going to make you click something and go to another page. That's right–I'm cuttin' and pastin' and no one can stop me. The old review is in between the pics.


You know what I love about Mia Farrow? It's the way she appears so vulnerable and fragile–what with her slight frame and her look of bewilderment and her delicate features–but she's got such a goddamn spine to her. I find myself wanting to protect her (or, I suppose I should say, characters she portrays, like Rosemary Woodhouse and Julia Lofting), but when push comes to shove she proves she won't be pushed or shoved.

And so after the tragic death of her young daughter and a breakdown, Julia ups and abandons her husband Magnus (Keir Dullea) on the spur of the moment as she leaves the hospital. Before long, Julia is...wait for it...haunted. But by what? The spirit of her daughter? Her own guilt? The spirit of the house's former resident? Unlike nearly every other supernatural flick on the market, The Haunting of Julia keeps all the goings-on vague and subtle, so much so that we're hard-pressed to discern whether or not there's any haunting going on at all. There aren't any Poltergeist-style furniture-flying-around-on-its-own theatrics to be found; sure, there's some bloodshed and casualties, but it's more about atmosphere or, as Julia puts it, the "feeling of hate" that engulfs her home.

Still, what's a good ghost story without some sort of mystery to be solved (not to mention that since it's a 70s film, there's a good old fashioned séance to boot)? And boy, Julia uncovers a good one–a downright chilling one, with a ghost that could give The Ring's Samara a lesson or two in evil. A note to wayward ghosts everywhere: I'm not fucking helping you, you're on your own.

The Haunting of Julia is a quiet film that will get under your skin more that it will outright scare you, and if quiet-n-subdued ain't your bag, it will undoubtedly get on your nerves more than it will get under your skin. But if you're in the mood for some precious blonde daughter dies early on and does she come back as a ghost or is her mother just mad with guilt? horror (that's totally a subgenre, you know), pair this up with Don't Look Now and go nuts!


As I said, there are no spook house histrionics to be found. There is grief so intense that it presses down upon you. There is a subtle unease throughout and by the time we get to the ending–and what an ending it is–the cumulative effect of this sad, chilling tale is incredibly powerful. But there are no easy answers, which may prove frustrating if you don't fall under Julia's spell.

There are plenty of similar films from the era that fans love to talk about: Don't Look Now, The Changeling, Burnt Offerings...films that have shocking, memorable moments worth recounting. The Haunting of Julia isn't "iconic" in that way (no red balls bouncing down the stairs, no homicidal dwarves), but it's absolutely worth adding to the pantheon. It's got a devoted following even as it's been completely neglected since the days of VHS. What I wouldn't give for a restored version, one that wasn't overly dark at times, one that doesn't snap and crackle, one that doesn't sound like there's a generator running just offscreen the entire time. Should it ever finally get the home release love it deserves, I'm sure I'll review it again, having forgotten all about the time I spent writing this post. No offense or anything, you're great. It's not you, it's me.

Wait, what was I talking about?

VHS Week Day 11: THE HAUNTING OF JULIA (1977)


It is quite fitting that The Haunting of Julia is better known as Full Circle because friends, my brain with regards to Final Girl is coming full circle. Or, okay, not quite full circle. More like my brain and this blog are forming something that is sort of like a möbius strip slowly sinking into quicksand. Time is folding in on itself and tearing apart. This has all happened before and it will all happen again. Up is down, dogs and cats are getting married, and, as usual, I can't find my pants.

Look, what I'm trying to say is that I've already reviewed this movie here! It was even a gotdanged Film Club choice! I knew I'd seen it–several times, in fact. I'm not that crazy. But as I never added The Haunting of Julia to the looonnng list of review links when we talked about it 3+ years ago, I plumb forgot I wrote about it. I watched it again for VHS Week, wrote down a bunch of notes...and then found the old review, which touches on basically everything I wrote down in my notes. I've talked about a lot of movies here and this blog is over ten years old and I am over 81 years old so give me a break.

So you know what? I'm not gonna try to come up with new ways to say the same things, nor am I going to make you click something and go to another page. That's right–I'm cuttin' and pastin' and no one can stop me. The old review is in between the pics.


You know what I love about Mia Farrow? It's the way she appears so vulnerable and fragile–what with her slight frame and her look of bewilderment and her delicate features–but she's got such a goddamn spine to her. I find myself wanting to protect her (or, I suppose I should say, characters she portrays, like Rosemary Woodhouse and Julia Lofting), but when push comes to shove she proves she won't be pushed or shoved.

And so after the tragic death of her young daughter and a breakdown, Julia ups and abandons her husband Magnus (Keir Dullea) on the spur of the moment as she leaves the hospital. Before long, Julia is...wait for it...haunted. But by what? The spirit of her daughter? Her own guilt? The spirit of the house's former resident? Unlike nearly every other supernatural flick on the market, The Haunting of Julia keeps all the goings-on vague and subtle, so much so that we're hard-pressed to discern whether or not there's any haunting going on at all. There aren't any Poltergeist-style furniture-flying-around-on-its-own theatrics to be found; sure, there's some bloodshed and casualties, but it's more about atmosphere or, as Julia puts it, the "feeling of hate" that engulfs her home.

Still, what's a good ghost story without some sort of mystery to be solved (not to mention that since it's a 70s film, there's a good old fashioned séance to boot)? And boy, Julia uncovers a good one–a downright chilling one, with a ghost that could give The Ring's Samara a lesson or two in evil. A note to wayward ghosts everywhere: I'm not fucking helping you, you're on your own.

The Haunting of Julia is a quiet film that will get under your skin more that it will outright scare you, and if quiet-n-subdued ain't your bag, it will undoubtedly get on your nerves more than it will get under your skin. But if you're in the mood for some precious blonde daughter dies early on and does she come back as a ghost or is her mother just mad with guilt? horror (that's totally a subgenre, you know), pair this up with Don't Look Now and go nuts!


As I said, there are no spook house histrionics to be found. There is grief so intense that it presses down upon you. There is a subtle unease throughout and by the time we get to the ending–and what an ending it is–the cumulative effect of this sad, chilling tale is incredibly powerful. But there are no easy answers, which may prove frustrating if you don't fall under Julia's spell.

There are plenty of similar films from the era that fans love to talk about: Don't Look Now, The Changeling, Burnt Offerings...films that have shocking, memorable moments worth recounting. The Haunting of Julia isn't "iconic" in that way (no red balls bouncing down the stairs, no homicidal dwarves), but it's absolutely worth adding to the pantheon. It's got a devoted following even as it's been completely neglected since the days of VHS. What I wouldn't give for a restored version, one that wasn't overly dark at times, one that doesn't snap and crackle, one that doesn't sound like there's a generator running just offscreen the entire time. Should it ever finally get the home release love it deserves, I'm sure I'll review it again, having forgotten all about the time I spent writing this post. No offense or anything, you're great. It's not you, it's me.

Wait, what was I talking about?

VHS Week Day 11: THE HAUNTING OF JULIA (1977)


It is quite fitting that The Haunting of Julia is better known as Full Circle because friends, my brain with regards to Final Girl is coming full circle. Or, okay, not quite full circle. More like my brain and this blog are forming something that is sort of like a möbius strip slowly sinking into quicksand. Time is folding in on itself and tearing apart. This has all happened before and it will all happen again. Up is down, dogs and cats are getting married, and, as usual, I can't find my pants.

Look, what I'm trying to say is that I've already reviewed this movie here! It was even a gotdanged Film Club choice! I knew I'd seen it–several times, in fact. I'm not that crazy. But as I never added The Haunting of Julia to the looonnng list of review links when we talked about it 3+ years ago, I plumb forgot I wrote about it. I watched it again for VHS Week, wrote down a bunch of notes...and then found the old review, which touches on basically everything I wrote down in my notes. I've talked about a lot of movies here and this blog is over ten years old and I am over 81 years old so give me a break.

So you know what? I'm not gonna try to come up with new ways to say the same things, nor am I going to make you click something and go to another page. That's right–I'm cuttin' and pastin' and no one can stop me. The old review is in between the pics.


You know what I love about Mia Farrow? It's the way she appears so vulnerable and fragile–what with her slight frame and her look of bewilderment and her delicate features–but she's got such a goddamn spine to her. I find myself wanting to protect her (or, I suppose I should say, characters she portrays, like Rosemary Woodhouse and Julia Lofting), but when push comes to shove she proves she won't be pushed or shoved.

And so after the tragic death of her young daughter and a breakdown, Julia ups and abandons her husband Magnus (Keir Dullea) on the spur of the moment as she leaves the hospital. Before long, Julia is...wait for it...haunted. But by what? The spirit of her daughter? Her own guilt? The spirit of the house's former resident? Unlike nearly every other supernatural flick on the market, The Haunting of Julia keeps all the goings-on vague and subtle, so much so that we're hard-pressed to discern whether or not there's any haunting going on at all. There aren't any Poltergeist-style furniture-flying-around-on-its-own theatrics to be found; sure, there's some bloodshed and casualties, but it's more about atmosphere or, as Julia puts it, the "feeling of hate" that engulfs her home.

Still, what's a good ghost story without some sort of mystery to be solved (not to mention that since it's a 70s film, there's a good old fashioned séance to boot)? And boy, Julia uncovers a good one–a downright chilling one, with a ghost that could give The Ring's Samara a lesson or two in evil. A note to wayward ghosts everywhere: I'm not fucking helping you, you're on your own.

The Haunting of Julia is a quiet film that will get under your skin more that it will outright scare you, and if quiet-n-subdued ain't your bag, it will undoubtedly get on your nerves more than it will get under your skin. But if you're in the mood for some precious blonde daughter dies early on and does she come back as a ghost or is her mother just mad with guilt? horror (that's totally a subgenre, you know), pair this up with Don't Look Now and go nuts!


As I said, there are no spook house histrionics to be found. There is grief so intense that it presses down upon you. There is a subtle unease throughout and by the time we get to the ending–and what an ending it is–the cumulative effect of this sad, chilling tale is incredibly powerful. But there are no easy answers, which may prove frustrating if you don't fall under Julia's spell.

There are plenty of similar films from the era that fans love to talk about: Don't Look Now, The Changeling, Burnt Offerings...films that have shocking, memorable moments worth recounting. The Haunting of Julia isn't "iconic" in that way (no red balls bouncing down the stairs, no homicidal dwarves), but it's absolutely worth adding to the pantheon. It's got a devoted following even as it's been completely neglected since the days of VHS. What I wouldn't give for a restored version, one that wasn't overly dark at times, one that doesn't snap and crackle, one that doesn't sound like there's a generator running just offscreen the entire time. Should it ever finally get the home release love it deserves, I'm sure I'll review it again, having forgotten all about the time I spent writing this post. No offense or anything, you're great. It's not you, it's me.

Wait, what was I talking about?

VHS Week Day 11: THE HAUNTING OF JULIA (1977)


It is quite fitting that The Haunting of Julia is better known as Full Circle because friends, my brain with regards to Final Girl is coming full circle. Or, okay, not quite full circle. More like my brain and this blog are forming something that is sort of like a möbius strip slowly sinking into quicksand. Time is folding in on itself and tearing apart. This has all happened before and it will all happen again. Up is down, dogs and cats are getting married, and, as usual, I can't find my pants.

Look, what I'm trying to say is that I've already reviewed this movie here! It was even a gotdanged Film Club choice! I knew I'd seen it–several times, in fact. I'm not that crazy. But as I never added The Haunting of Julia to the looonnng list of review links when we talked about it 3+ years ago, I plumb forgot I wrote about it. I watched it again for VHS Week, wrote down a bunch of notes...and then found the old review, which touches on basically everything I wrote down in my notes. I've talked about a lot of movies here and this blog is over ten years old and I am over 81 years old so give me a break.

So you know what? I'm not gonna try to come up with new ways to say the same things, nor am I going to make you click something and go to another page. That's right–I'm cuttin' and pastin' and no one can stop me. The old review is in between the pics.


You know what I love about Mia Farrow? It's the way she appears so vulnerable and fragile–what with her slight frame and her look of bewilderment and her delicate features–but she's got such a goddamn spine to her. I find myself wanting to protect her (or, I suppose I should say, characters she portrays, like Rosemary Woodhouse and Julia Lofting), but when push comes to shove she proves she won't be pushed or shoved.

And so after the tragic death of her young daughter and a breakdown, Julia ups and abandons her husband Magnus (Keir Dullea) on the spur of the moment as she leaves the hospital. Before long, Julia is...wait for it...haunted. But by what? The spirit of her daughter? Her own guilt? The spirit of the house's former resident? Unlike nearly every other supernatural flick on the market, The Haunting of Julia keeps all the goings-on vague and subtle, so much so that we're hard-pressed to discern whether or not there's any haunting going on at all. There aren't any Poltergeist-style furniture-flying-around-on-its-own theatrics to be found; sure, there's some bloodshed and casualties, but it's more about atmosphere or, as Julia puts it, the "feeling of hate" that engulfs her home.

Still, what's a good ghost story without some sort of mystery to be solved (not to mention that since it's a 70s film, there's a good old fashioned séance to boot)? And boy, Julia uncovers a good one–a downright chilling one, with a ghost that could give The Ring's Samara a lesson or two in evil. A note to wayward ghosts everywhere: I'm not fucking helping you, you're on your own.

The Haunting of Julia is a quiet film that will get under your skin more that it will outright scare you, and if quiet-n-subdued ain't your bag, it will undoubtedly get on your nerves more than it will get under your skin. But if you're in the mood for some precious blonde daughter dies early on and does she come back as a ghost or is her mother just mad with guilt? horror (that's totally a subgenre, you know), pair this up with Don't Look Now and go nuts!


As I said, there are no spook house histrionics to be found. There is grief so intense that it presses down upon you. There is a subtle unease throughout and by the time we get to the ending–and what an ending it is–the cumulative effect of this sad, chilling tale is incredibly powerful. But there are no easy answers, which may prove frustrating if you don't fall under Julia's spell.

There are plenty of similar films from the era that fans love to talk about: Don't Look Now, The Changeling, Burnt Offerings...films that have shocking, memorable moments worth recounting. The Haunting of Julia isn't "iconic" in that way (no red balls bouncing down the stairs, no homicidal dwarves), but it's absolutely worth adding to the pantheon. It's got a devoted following even as it's been completely neglected since the days of VHS. What I wouldn't give for a restored version, one that wasn't overly dark at times, one that doesn't snap and crackle, one that doesn't sound like there's a generator running just offscreen the entire time. Should it ever finally get the home release love it deserves, I'm sure I'll review it again, having forgotten all about the time I spent writing this post. No offense or anything, you're great. It's not you, it's me.

Wait, what was I talking about?

VHS Week Day 11: THE HAUNTING OF JULIA (1977)


It is quite fitting that The Haunting of Julia is better known as Full Circle because friends, my brain with regards to Final Girl is coming full circle. Or, okay, not quite full circle. More like my brain and this blog are forming something that is sort of like a möbius strip slowly sinking into quicksand. Time is folding in on itself and tearing apart. This has all happened before and it will all happen again. Up is down, dogs and cats are getting married, and, as usual, I can't find my pants.

Look, what I'm trying to say is that I've already reviewed this movie here! It was even a gotdanged Film Club choice! I knew I'd seen it–several times, in fact. I'm not that crazy. But as I never added The Haunting of Julia to the looonnng list of review links when we talked about it 3+ years ago, I plumb forgot I wrote about it. I watched it again for VHS Week, wrote down a bunch of notes...and then found the old review, which touches on basically everything I wrote down in my notes. I've talked about a lot of movies here and this blog is over ten years old and I am over 81 years old so give me a break.

So you know what? I'm not gonna try to come up with new ways to say the same things, nor am I going to make you click something and go to another page. That's right–I'm cuttin' and pastin' and no one can stop me. The old review is in between the pics.


You know what I love about Mia Farrow? It's the way she appears so vulnerable and fragile–what with her slight frame and her look of bewilderment and her delicate features–but she's got such a goddamn spine to her. I find myself wanting to protect her (or, I suppose I should say, characters she portrays, like Rosemary Woodhouse and Julia Lofting), but when push comes to shove she proves she won't be pushed or shoved.

And so after the tragic death of her young daughter and a breakdown, Julia ups and abandons her husband Magnus (Keir Dullea) on the spur of the moment as she leaves the hospital. Before long, Julia is...wait for it...haunted. But by what? The spirit of her daughter? Her own guilt? The spirit of the house's former resident? Unlike nearly every other supernatural flick on the market, The Haunting of Julia keeps all the goings-on vague and subtle, so much so that we're hard-pressed to discern whether or not there's any haunting going on at all. There aren't any Poltergeist-style furniture-flying-around-on-its-own theatrics to be found; sure, there's some bloodshed and casualties, but it's more about atmosphere or, as Julia puts it, the "feeling of hate" that engulfs her home.

Still, what's a good ghost story without some sort of mystery to be solved (not to mention that since it's a 70s film, there's a good old fashioned séance to boot)? And boy, Julia uncovers a good one–a downright chilling one, with a ghost that could give The Ring's Samara a lesson or two in evil. A note to wayward ghosts everywhere: I'm not fucking helping you, you're on your own.

The Haunting of Julia is a quiet film that will get under your skin more that it will outright scare you, and if quiet-n-subdued ain't your bag, it will undoubtedly get on your nerves more than it will get under your skin. But if you're in the mood for some precious blonde daughter dies early on and does she come back as a ghost or is her mother just mad with guilt? horror (that's totally a subgenre, you know), pair this up with Don't Look Now and go nuts!


As I said, there are no spook house histrionics to be found. There is grief so intense that it presses down upon you. There is a subtle unease throughout and by the time we get to the ending–and what an ending it is–the cumulative effect of this sad, chilling tale is incredibly powerful. But there are no easy answers, which may prove frustrating if you don't fall under Julia's spell.

There are plenty of similar films from the era that fans love to talk about: Don't Look Now, The Changeling, Burnt Offerings...films that have shocking, memorable moments worth recounting. The Haunting of Julia isn't "iconic" in that way (no red balls bouncing down the stairs, no homicidal dwarves), but it's absolutely worth adding to the pantheon. It's got a devoted following even as it's been completely neglected since the days of VHS. What I wouldn't give for a restored version, one that wasn't overly dark at times, one that doesn't snap and crackle, one that doesn't sound like there's a generator running just offscreen the entire time. Should it ever finally get the home release love it deserves, I'm sure I'll review it again, having forgotten all about the time I spent writing this post. No offense or anything, you're great. It's not you, it's me.

Wait, what was I talking about?

VHS Week Day 11: THE HAUNTING OF JULIA (1977)


It is quite fitting that The Haunting of Julia is better known as Full Circle because friends, my brain with regards to Final Girl is coming full circle. Or, okay, not quite full circle. More like my brain and this blog are forming something that is sort of like a möbius strip slowly sinking into quicksand. Time is folding in on itself and tearing apart. This has all happened before and it will all happen again. Up is down, dogs and cats are getting married, and, as usual, I can't find my pants.

Look, what I'm trying to say is that I've already reviewed this movie here! It was even a gotdanged Film Club choice! I knew I'd seen it–several times, in fact. I'm not that crazy. But as I never added The Haunting of Julia to the looonnng list of review links when we talked about it 3+ years ago, I plumb forgot I wrote about it. I watched it again for VHS Week, wrote down a bunch of notes...and then found the old review, which touches on basically everything I wrote down in my notes. I've talked about a lot of movies here and this blog is over ten years old and I am over 81 years old so give me a break.

So you know what? I'm not gonna try to come up with new ways to say the same things, nor am I going to make you click something and go to another page. That's right–I'm cuttin' and pastin' and no one can stop me. The old review is in between the pics.


You know what I love about Mia Farrow? It's the way she appears so vulnerable and fragile–what with her slight frame and her look of bewilderment and her delicate features–but she's got such a goddamn spine to her. I find myself wanting to protect her (or, I suppose I should say, characters she portrays, like Rosemary Woodhouse and Julia Lofting), but when push comes to shove she proves she won't be pushed or shoved.

And so after the tragic death of her young daughter and a breakdown, Julia ups and abandons her husband Magnus (Keir Dullea) on the spur of the moment as she leaves the hospital. Before long, Julia is...wait for it...haunted. But by what? The spirit of her daughter? Her own guilt? The spirit of the house's former resident? Unlike nearly every other supernatural flick on the market, The Haunting of Julia keeps all the goings-on vague and subtle, so much so that we're hard-pressed to discern whether or not there's any haunting going on at all. There aren't any Poltergeist-style furniture-flying-around-on-its-own theatrics to be found; sure, there's some bloodshed and casualties, but it's more about atmosphere or, as Julia puts it, the "feeling of hate" that engulfs her home.

Still, what's a good ghost story without some sort of mystery to be solved (not to mention that since it's a 70s film, there's a good old fashioned séance to boot)? And boy, Julia uncovers a good one–a downright chilling one, with a ghost that could give The Ring's Samara a lesson or two in evil. A note to wayward ghosts everywhere: I'm not fucking helping you, you're on your own.

The Haunting of Julia is a quiet film that will get under your skin more that it will outright scare you, and if quiet-n-subdued ain't your bag, it will undoubtedly get on your nerves more than it will get under your skin. But if you're in the mood for some precious blonde daughter dies early on and does she come back as a ghost or is her mother just mad with guilt? horror (that's totally a subgenre, you know), pair this up with Don't Look Now and go nuts!


As I said, there are no spook house histrionics to be found. There is grief so intense that it presses down upon you. There is a subtle unease throughout and by the time we get to the ending–and what an ending it is–the cumulative effect of this sad, chilling tale is incredibly powerful. But there are no easy answers, which may prove frustrating if you don't fall under Julia's spell.

There are plenty of similar films from the era that fans love to talk about: Don't Look Now, The Changeling, Burnt Offerings...films that have shocking, memorable moments worth recounting. The Haunting of Julia isn't "iconic" in that way (no red balls bouncing down the stairs, no homicidal dwarves), but it's absolutely worth adding to the pantheon. It's got a devoted following even as it's been completely neglected since the days of VHS. What I wouldn't give for a restored version, one that wasn't overly dark at times, one that doesn't snap and crackle, one that doesn't sound like there's a generator running just offscreen the entire time. Should it ever finally get the home release love it deserves, I'm sure I'll review it again, having forgotten all about the time I spent writing this post. No offense or anything, you're great. It's not you, it's me.

Wait, what was I talking about?