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5 Favorite Moments From ‘Evil Dead 2’!!!

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Evil Dead II anniversary

Sam Raimi’s Evil Dead II: Dead by Dawn is my favorite Evil Dead film (a ranking I’m open to changing after I see the remake on Friday). It’s almost strange that it works so well for me. I love great dialogue, but there’s relatively little of it to be found in the movie (aside from its iconic one-liners). I love rich characters, and the film doesn’t seem particularly interested in defining those specifics. I love a tight narrative, and Evil Dead 2 isn’t so much a story as it is a series of moments that work exceedingly well together.

I really mean that last part as a compliment, both about the moments and about the film working. Evil Dead 2 breaks so many rules, yet it sings remarkably in spite of that. It’s cinematic and jokey in all the right ways, an epic and gory “Three Stooges” homage.

Head inside for my 5 Favorite Moments From Evil Dead 2!!!


THE SEDUCTION


I think I love this scene because it’s so aware of its function and it accomplishes its goal with such economy. Going to the woods to bang is a staple of this kind of genre, and knowing Ash was about to get a little bit of sugar only ups the ante on his loss moments later. “After all, I’m a man and you’re a woman… at least last time I checked.


THE ARRIVAL OF THE GUESTS


Ash has been having a bad night, and he certainly wasn’t expecting company – so it makes sense that he would fire a shot or two through the door Pistorious style. Not only does he end up hurting one of the only decent people (Bobby Joe) – but he meets Richard Domeier and Sarah Berry’s characters, who have no hope but to come across as hilariously stuffy when contrasted with Ash’s exploits that evening.


DEAD LINDA DANCE / CHAINSAW VICE EXECUTION


Not only is it a blast to see Linda [Denise Bixler] rise from the grave, dance around and whimsically roll her head down her arm, it’s great to see her head upright in that vice. I love how the effect obviously switches from prop to sight gag once the head is properly aligned. Even more than that, I love Ash’s emotionality as he decides he heeds to dismantle her once and for all.


EYEBALL IN THE MOUTH


No explanation needed really, except for when I saw a clip of this on MTV late one night on a horror themed program as a kid I assumed it was from some obscure mean-spirited movie that I’d never see. How wrong I was. The moment I realized I was watching that movie actually counts as one of my life’s tangible thrills.


POSSESSED HAND


Bruce Campbell, and his hand, deserve an Oscar for pulling off what might be the film’s most central conflict. From smashing plates over his head and dragging him across the floor, to giving him the finger after he says a farewell to arms – Ash’s hand proves to be among the film’s most elusive quarry.


BONUS


Every other moment – including the deadite Richard Domeier, Ash flying through the woods, the laughing deer… aannnnddd WORK SHED! Oh, and… GROOVY! You get my drift – impossible to stop.

Editorials

5 Deep Cut Horror Movies to Seek Out in May 2024

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Pictured: 'The Bone Snatcher'

New month, new horror recommendations from Deep Cuts Rising. This installment features one random pick as well as four selections reflecting the month of May 2024.

Regardless of how they came to be here, or what they’re about, these past movies can generally be considered overlooked, forgotten or unknown.

This month’s offerings include a self-loathing serial killer, a violinist’s murderous ghost, and a postmodern vamp flick.


Scream, Pretty Peggy (1973)

horror

Pictured: Ted Bessell and Sian Barbara Allen in Scream, Pretty Peggy.

Directed by Gordon Hessler.

The TV-movie Scream, Pretty Peggy first aired as part of ABC Movie of the Week. Bette Davis plays the mother of a reclusive sculptor (Ted Bessell), and after the previous housekeeper goes missing, a local college student (Sian Barbara Allen) fills the position. Little does she know, though, the young employee’s predecessor was murdered — and the killer is still on the loose.

Admittedly, Scream, Pretty Peggy isn’t difficult to figure out; its inspiration is obvious. However, Bette Davis’ overstated performance and the son character’s macabre artwork are enough to stay tuned and learn who’s behind the killings.

Scream, Pretty Peggy is now available on physical media from Kino Lorber. Perhaps watch the movie with your own mother this Mother’s Day (May 12).


Paganini Horror (1989)

Pictured: The ghostly killer in Paganini Horror.

Directed by Luigi Cozzi.

For National Buy a Musical Instrument Day (May 22), check out this absurd Italian entry in the subgenre of cursed music horror. A rock band unleashes hell when they unknowingly use a satanic piece of music composed by Niccolò Paganini, the violinist who was rumored to have made a Faustian deal.

Even though Paganini Horror is hardly deemed a standout of Italian Horror, and the movie indeed drags itself toward the finish line, there are some bright spots worth focusing on. For instance: Donald Pleasence. If that’s not enough, the very ’80s aesthetic helps gloss over the flaws in Daria Nicolodi‘s uneven script.

Paganini Horror is now on physical media from Severin Films and is also streaming on SCREAMBOX.


Nadja (1994)

horror

Pictured: Suzy Amis Cameron and Karl Geary in Nadja.

Directed by Michael Almereyda.

These vampires may or may not cast a reflection, but they sure do love to reflect. David Lynch executive-produced as well as briefly appeared in the film, which Roger Ebert succinctly described as “Deadpan Noir” in his review. This tale of revenge and philosophical pondering begins with the vampiric namesake (Suzy Amis Cameron) seducing the daughter (Galaxy Craze) of Van Helsing after he killed Nadja’s father, Dracula. From there a war erupts between the two sides, all while taking place in modern NYC.

Nadja is quite slow but also just strange, stylish and creative enough to keep your attention. In addition, the trip hop soundtrack is easy on the ears, and Peter Fonda plays a memorable Van Helsing. Overall, this is a unique and artsy approach to vampire horror.

Nadja is now streaming on Freevee.


The Bone Snatcher (2003)

horror

Pictured: Scott Bairstow, Warrick Grier and Rachel Shelley in ‘The Bone Snatcher’.

Directed by Jason Wulfsohn.

For National Sunscreen Day (May 27), dig up the monster movie The Bone Snatcher. It will take more than a high SPF to protect the sunburned characters here; they are stuck in a South African desert with a bizarre monster called the Esikhulu.

The best things about The Bone Snatcher are its setting and the creature. This beast, which is brought to life on screen using a combination of practical and digital effects, sports a ghastly design to go with its unnerving ability to animate skeletons. Something else this movie has going for it is a refusal to show the monster too often; that way there is less chance of becoming desensitized to the Esikhulu. Ultimately, this has nothing on John Carpenter’s The Thing, however, those more forgiving fans of Syfy-ish creature-features should be satisfied.

The Bone Snatcher is currently streaming on Tubi.


#1 Serial Killer (2013)

Pictured: Jason Tobin in #1 Serial Killer.

Directed by Stanley Yung.

May is AAPIM, and the subversive #1 Serial Killer (originally titled Chink) is relevant when discussing the “Invisible Asian” notion. Acknowledging the irony, Stanley Yung’s movie has gone widely unnoticed despite its potent take on race and identity.

Jason Tobin (Warrior) delivers a compelling performance as the vile protagonist here. The self-hating, Ted Bundy-admiring character discriminates against other Asians after years of mistreatment and disregard, and that growing rage finally manifests as cathartic violence.

#1 Serial Killer is currently available at digital retailers like Apple.


No genre is as prolific as horror, so it’s understandable that movies fall through the cracks all the time. That is where this recurring column, Deep Cuts Rising, comes in. Each installment of this series will spotlight several unsung or obscure movies from the past — some from way back when, and others from not so long ago — that could use more attention.

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