Connect with us

Editorials

[Special Feature] Reflect Back On the ‘Underworld’ Franchise & Its Sexy Heroines!

Published

on

Underworld Kate Beckinsale

With Screen Gems’ Underworld: Awakening 3D hitting theaters on January 20, 2012 (which is just around the corner, practice writing that new year now so your checks are legit in a few weeks) you might be looking for a refresher on some of the events of the franchise. These films, believe it or not, have been going strong for almost a decade now – and since they focus heavily on the lineage of several specific families and clans viewed though the lens of a highly political war between Vampires and Lycans – they’re not 100% stand alone.

And one thing is certainly different this time as opposed to the prior outing – Kate Beckinsale has returned to the series, reprising her role as Selene. Also changing hands are the reigns behind the camera – the film is directed by Mans Marlind and Bjorn Stein. It also stars Stephen Rea, Michael Ealy, Theo James, India Eisley and Charles Dance.

Kate Beckinsale, star of the first two films, returns in her lead role as the vampire warrioress Selene, who escapes imprisonment to find herself in a world where humans have discovered the existence of both Vampire and Lycan clans, and are conducting an all-out war to eradicate both immortal species.

Hit the jump for a quick, Underworld: Awakening 3D sponsored, look back at the first three films.

Underworld 2003

Underworld Kate Beckinsale

For starters the entire franchise has strong shades of “Romeo & Juliet” throughout. While there isn’t one central romance that runs through all three films (there are several – with the Selene/Michael Corvin tryst being central to the first two films) the centuries long battle between the Vampires and the Lycans is imbued with dashes of the Montagues and Capulets in the sense that this is a blood feud that has not only killed countless “beings”, but has fractured the internal politics of the franchise’s central family units. A war predicated, in many ways, on secrets, misunderstandings and the vampire enslavement of Lycans.

In Underworld the accepted truth, as Selene knows it, is simply that the Lycans are a menace and that it is her duty – as a Death Dealer – to eliminate them. As she investigates their surprisingly specific targeting of Michel Corvin (Scott Speedman), she discovers that the ancient Lycan leader Lucian (Michael Sheen) is actually still alive and is plotting an attack on the Vampire clan. Not only that, but the reason the Lycans have been specifically targeting Corvin is they believe his blood genetically predisposed to give them the ability to create a half Vampire/half Lycan hybrid that is more powerful than any one species on its own. No one has ever survived a bite from both species but Corvin’s blood just might be the antidote to that little problem.

Kraven, who intends on marrying Selene and making her his queen, is none too thrilled with the investigation. Selene awakens ancient Vampire elder Viktor (Bill Nighy) despite his desire not to be disturbed for at least another 100 years, to explain the impending danger and alert him that Kraven may indeed be a traitor working with the Lycans. Viktor is having none of it, and despite his affection for Selene (he rescued her from a werewolf attack when she was just an infant) demands that she be punished.

Michael, who has been bitten by Lucian and is turning Lycan, has visions of what really happened – there was no Lycan attack on Selene’s family. Viktor was actually feeding on them and decided to spare her because she reminds him of the daughter he burned alive hundreds of years ago for falling in love with Lucian.

This lie greatly informs Selene’s decision in the film’s climax wherein Kraven’s deception is unmasked and Lucian and Michael are mortally wounded. The dying Lucian reminds Selene that since Michael has the genetic component to survive both Vampire and Lycan bites, she can restore him with her power. In doing so she makes Michael Corvin the first Vampire/Lycan hybrid and when it comes time to choose between him and Viktor in their final battle – she kills Viktor.

Underworld: Evolution 2006

Underworld Kate Beckinsale

Underworld: Evolution uses the events and world-building of the first film to create a more contained narrative.

After Selene killed elder Vampire Viktor, only one of the three original elders remains – Marcus. Upon awakening, Marcus (Tony Curran) – who has the ability to grow huge wings with stabbing talons and fly like a bat – learns of Michael’s transformation into a hybrid. As any elder would (remember these Vampires hate Lycans – so they’re definitely not into race mixing.), Marcus goes on the hunt for Selene and Michael.

Selene and Michael visit Marcus’ father, Alexander Corvinus (no accident that Corvinus also has the root Corvin, as in Michael’s last name) to discuss ways in which to stop Marcus. But Corvinus cannot commit to killing his own son – now matter how evil he recognizes he is. Too bad Marcus doesn’t feel the same way about his own father. After arriving on the scene and causing quite the ruckus (and seemingly killing Michael), he mortally wounds Corvinus in order to obtain the key that will lead him to William, a powerful Lycan. Dying, Corvinus forces Selene to drink his blood.

Selene (Michael’s corpse in tow) goes after Marcus via helicopter. By the time she catches up Marcus is in already in process in his plan to take out William and a big tussle ensues between the three parties. Michael comes back from the not-quite dead and together they dispatch of Marcus and Michael. Bonus? That blood that Corvinus made Selene drink has now given her immunity against the sun. She and Michael can keep ‘normal’ hours together!

Underworld: Rise Of The Lycans 2009

Underworld Kate Beckinsale

In some ways, Underworld: Rise Of The Lycans is the Rise Of The Planet Of The Apes of the Underworld series. Clocking in at a brief 90 or so minutes, it’s a brisk and focussed look at the genesis of the Vampire/Lycan war.

Many of the events in the film have been alluded to, shown or whispered of in the previous installments – but here they’re all laid out linearly.

When Viktor happens upon infant Lucian while wiping out a pack of Lycans, he thinks twice about firing his crossbow into the child (I guess this is a theme with Viktor – rescuing infants while out pillaging). Michael Sheen returns to play the adult Lucian, the Lycan slave of Viktor’s vampire clan who slowly moves from obedience into self actualization and rebellion. The Lycans are bred to be slaves after all, chained to guard their Vampire masters as they sleep.

Viktor’s daughter, Sonja (Rhona Mitra – who does remind one of Kate Beckinsale, a necessity outlined by the lore in the original film) takes a liking to Lucian despite his indentured nature (he literally has to wear a collar). In fact, Lucian and Sonja fall in love, a courtship that includes some fairly wild cliff-top romancing if you get my drift. As Lucian learns what it’s like to feel love and equality – his inner Che Guevara begins to take hold.

After he amasses an internal group of Lycan revolutionaries they escape Viktor’s castle and take refuge in the countryside, plotting their new life. But when Viktor discovers the secret of Sonja and Lucian’s courtship he is outrages. He all but disowns his daughter and confines her to her room. He’s also counting on her beckoning to Lucian, drawing him back in so he can exact his revenge when Lucian storms the castle.

After he has Lucian back in his grasp, Viktor chains the Lycan across the room from Sonja. It soon becomes clear that Viktor has planned on sacrificing his own daughter as part of his revenge plot – and indeed when the sun rises and peeks through the opening on the roof Lucian watches Sonja disintegrate and ember into ash.

Lucian transforms and his werewolf army storms the castle – eliminating almost all of the vampires. It’s a temporary victory that marks the beginning of the Vampire/Lycan war – Viktor and the other elders have escaped. We dissolve into the first image with which the series began – Kate Beckinsale’s Selene astride a rooftop, still unaware of the secret knowledge of the war – ready deal death to the Lycans.

Underworld: Awakening 3D 2012

Underworld Awakening

Picking up 12 years after the events of Underworld: Evolution the world Selene confronts in Underworld: Awakening has changed greatly. Humans are now aware of both Vampires and Lycans – and they intend to exterminate both species to protect the human race. The key to the ongoing battle lies with Eve, the first Vampire/Lycan hybrid ever. Whomever gets the girl, wins the war. Awakening also will introduce the first ever Uber-Lycans, twice the size of normal Lycans, to contend with. Sounds like it could be a bumpy ride!

Editorials

‘Immaculate’ – A Companion Watch Guide to the Religious Horror Movie and Its Cinematic Influences

Published

on

The Devils - Immaculate companion guide
Pictured: 'The Devils' 1971

The religious horror movie Immaculate, starring Sydney Sweeney and directed by Michael Mohan, wears its horror influences on its sleeves. NEON’s new horror movie is now available on Digital and PVOD, making it easier to catch up with the buzzy title. If you’ve already seen Immaculate, this companion watch guide highlights horror movies to pair with it.

Sweeney stars in Immaculate as Cecilia, a woman of devout faith who is offered a fulfilling new role at an illustrious Italian convent. Cecilia’s warm welcome to the picture-perfect Italian countryside gets derailed soon enough when she discovers she’s become pregnant and realizes the convent harbors disturbing secrets.

From Will Bates’ gothic score to the filming locations and even shot compositions, Immaculate owes a lot to its cinematic influences. Mohan pulls from more than just religious horror, though. While Immaculate pays tribute to the classics, the horror movie surprises for the way it leans so heavily into Italian horror and New French Extremity. Let’s dig into many of the film’s most prominent horror influences with a companion watch guide.

Warning: Immaculate spoilers ahead.


Rosemary’s Baby

'Rosemary's Baby' - Is Paramount's 'Apartment 7A' a Secret Remake?! [Exclusive]

The mother of all pregnancy horror movies introduces Rosemary Woodhouse (Mia Farrow), an eager-to-please housewife who’s supportive of her husband, Guy, and thrilled he landed them a spot in the coveted Bramford apartment building. Guy proposes a romantic evening, which gives way to a hallucinogenic nightmare scenario that leaves Rosemary confused and pregnant. Rosemary’s suspicions and paranoia mount as she’s gaslit by everyone around her, all attempting to distract her from her deeply abnormal pregnancy. While Cecilia follows a similar emotional journey to Rosemary, from the confusion over her baby’s conception to being gaslit by those who claim to have her best interests in mind, Immaculate inverts the iconic final frame of Rosemary’s Baby to great effect.


The Exorcist

Dick Smith makeup The Exorcist

William Friedkin’s horror classic shook audiences to their core upon release in the ’70s, largely for its shocking imagery. A grim battle over faith is waged between demon Pazuzu and priests Damien Karras (Jason Miller) and Lankester Merrin (Max von Sydow). The battleground happens to be a 12-year-old, Regan MacNeil (Linda Blair), whose possessed form commits blasphemy often, including violently masturbating with a crucifix. Yet Friedkin captures the horrifying events with stunning cinematography; the emotional complexity and shot composition lend elegance to a film that counterbalances the horror. That balance between transgressive imagery and artful form permeates Immaculate as well.


Suspiria

Suspiria

Jessica Harper stars as Suzy Bannion, an American newcomer at a prestigious dance academy in Germany who uncovers a supernatural conspiracy amid a series of grisly murders. It’s a dance academy so disciplined in its art form that its students and faculty live their full time, spending nearly every waking hour there, including built-in meals and scheduled bedtimes. Like Suzy Bannion, Cecilia is a novitiate committed to learning her chosen trade, so much so that she travels to a foreign country to continue her training. Also, like Suzy, Cecilia quickly realizes the pristine façade of her new setting belies sinister secrets that mean her harm. 


What Have You Done to Solange?

What Have You Done to Solange

This 1972 Italian horror film follows a college professor who gets embroiled in a bizarre series of murders when his mistress, a student, witnesses one taking place. The professor starts his own investigation to discover what happened to the young woman, Solange. Sex, murder, and religion course through this Giallo’s veins, which features I Spit on Your Grave’s Camille Keaton as Solange. Immaculate director Michael Mohan revealed to The Wrap that he emulated director Massimo Dallamano’s techniques, particularly in a key scene that sees Cecilia alone in a crowded room of male superiors, all interrogating her on her immaculate status.


The Red Queen Kills Seven Times

The Red Queen Kills Seven Times

In this Giallo, two sisters inherit their family’s castle that’s also cursed. When a dark-haired, red-robed woman begins killing people around them, the sisters begin to wonder if the castle’s mysterious curse has resurfaced. Director Emilio Miraglia infuses his Giallo with vibrant style, with the titular Red Queen instantly eye-catching in design. While the killer’s design and use of red no doubt played an influential role in some of Immaculate’s nightmare imagery, its biggest inspiration in Mohan’s film is its score. Immaculate pays tribute to The Red Queen Kills Seven Times through specific music cues.


The Vanishing

The Vanishing

Rex’s life is irrevocably changed when the love of his life is abducted from a rest stop. Three years later, he begins receiving letters from his girlfriend’s abductor. Director George Sluizer infuses his simple premise with bone-chilling dread and psychological terror as the kidnapper toys with Red. It builds to a harrowing finale you won’t forget; and neither did Mohan, who cited The Vanishing as an influence on Immaculate. Likely for its surprise closing moments, but mostly for the way Sluizer filmed from inside a coffin. 


The Other Hell

The Other Hell

This nunsploitation film begins where Immaculate ends: in the catacombs of a convent that leads to an underground laboratory. The Other Hell sees a priest investigating the seemingly paranormal activity surrounding the convent as possessed nuns get violent toward others. But is this a case of the Devil or simply nuns run amok? Immaculate opts to ground its horrors in reality, where The Other Hell leans into the supernatural, but the surprise lab setting beneath the holy grounds evokes the same sense of blasphemous shock. 


Inside

Inside 2007

During Immaculate‘s freakout climax, Cecilia sets the underground lab on fire with Father Sal Tedeschi (Álvaro Morte) locked inside. He manages to escape, though badly burned, and chases Cecilia through the catacombs. When Father Tedeschi catches Cecilia, he attempts to cut her baby out of her womb, and the stark imagery instantly calls Alexandre Bustillo and Julien Maury’s seminal French horror movie to mind. Like Tedeschi, Inside’s La Femme (Béatrice Dalle) will stop at nothing to get the baby, badly burned and all. 


Burial Ground

Burial Ground creepy kid

At first glance, this Italian zombie movie bears little resemblance to Immaculate. The plot sees an eclectic group forced to band together against a wave of undead, offering no shortage of zombie gore and wild character quirks. What connects them is the setting; both employed the Villa Parisi as a filming location. The Villa Parisi happens to be a prominent filming spot for Italian horror; also pair the new horror movie with Mario Bava’s A Bay of Blood or Blood for Dracula for additional boundary-pushing horror titles shot at the Villa Parisi.


The Devils

The Devils 1971 religious horror

The Devils was always intended to be incendiary. Horror, at its most depraved and sadistic, tends to make casual viewers uncomfortable. Ken Russell’s 1971 epic takes it to a whole new squeamish level with its nightmarish visuals steeped in some historical accuracy. There are the horror classics, like The Exorcist, and there are definitive transgressive horror cult classics. The Devils falls squarely in the latter, and Russell’s fearlessness in exploring taboos and wielding unholy imagery inspired Mohan’s approach to the escalating horror in Immaculate

Continue Reading