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[BD Review] Rural Thriller ‘The Invoking’ Offers Up Tight Suspense and NO Cliches!
The Invoking originally went by the name “Sader Ridge,” which is a way better title in my book. Names of places are more interesting to me than just adding “-ing” to a verb. After watching the movie, the title they rolled with makes sense, but I can’t help but figure they changed it because of The Conjuring‘s success. Anyway, The Invoking turned out to be a solid indie that’s more like a straight up thriller than horror. On the surface the concept anticipates a cabin in the woods kinda slasher, but there are only a few moments of slashing. That’s probably why they didn’t call it “The Slashing.” If you can get past some of the actors (excluding two amazing ones), the film has some moments of bona fide suspense and a nice sense of atmosphere, all while gloriously avoiding cliches!
Sam Harris (Trin Miller) has just inherited a house and a nice piece of land from her recently deceased aunt out in the sticks. She brings along three friends to check it out with her. Well, two friends and one ex-boyfriend who inexplicably gets to hang out with these decent people. I’m talking about Mark (Brandon Anthony), who’s an opportunistic self-centered prick. I don’t understand why Sam or her friends Roman (Josh Truax) and Caitlin (Andi Norris) would EVER hang out with this jerk.
When they arrive at Sader Ridge, they’re greeted by the young groundskeeper Eric (D’Angelo Midili), whose motivations for wanting to help Sam get to know the property are eerily vague. As she spends more time in the house and on the surrounding land, Sam begins to come unhinged. She’s plagued by waking nightmares of brutality and whispers of her forgotten past. Before losing her grip on reality, she’s forced to confront these images to figure out what dark family secrets have been kept from her.
The whole story of Sam’s family is really engaging and even after it’s clear what happened there on the property, The Invoking still does a great job of maintaining suspense until the credits roll. There’s nothing particularly inventive, but the film’s greatest strength is its avoidance of cliches. There are no ghosts or maniacs out in these woods, just some horrible, repressed memories threatening to consume Sam. The whole theme of memory is explored really well, in fact. The approach, in short, is really attractive once you dive into the film.
The biggest drawback of the film is the acting. I know it’s an indie and all that, but most of the dialogue is delivered in such a stiff, machine-like manner that it really drags the film down. None of the exchanges between characters sound natural. There are some exceptions. Trin Miller is fantastic as Sam. She runs the gamut of emotions throughout the film, which would be a challenge for any actor, veteran or not, but she nails it. Keep an eye on her. Then there’s D’Angelo Midili, who plays Eric with an incredible amount of restraint. We’re never quite sure if he has Sam’s best intentions in mind or whether he’s just a complete psycho. Midili keeps us on our toes by presenting layers of menace, sympathy, and kindness, all presented in a believable manner. He never goes over the top. The guy simply plays a great creep.
The Invoking is a great ride with some well-crafted suspense and two kick ass actors that carry the whole damn film. It’s available now on DVD and I think it’s seriously worthy of a rent.
Night School, director Ken Hughes and writer Ruth Avergon‘s tale of a headhunting slasher on the streets of Boston, arrived in the early Golden Age of the slasher film and never quite broke through the endurance test that other films in the subgenre, like Friday the 13th, managed to pass with flying colors. Blame it on a more cerebral tone, a crowded market, whatever you like, but saying it’s a shame that the film didn’t break through doesn’t begin to cover it.
Night School isn’t just an underrated slasher, or an underseen one. For my money, it’s one of the best films the subgenre has ever produced, full stop, and Vinegar Syndrome’s new 4K UHD restoration, arriving just in time for the film’s 45th anniversary, is must-have proof. Stacked with special features highlighting the craft of the film and its place in slasher history, and headlined by a gorgeous restoration showcasing the wonderfully textured production, this is Night School as it’s meant to be seen for slasher devotees everywhere.
So, what makes the film so effective? It starts very simply, with the revelation that a killer with a very cool knife and a motorcycle helmet as a mask is murdering young women in Boston, taking off their heads, and dropping those heads in the nearest body of water (no matter how small).
Solving the case falls on Judd Austin (Leonard Mann), a detective with an academic background who traces all of the victims in one way or another back to a local night school. There, suspicion falls on a womanizing professor (Drew Snyder) who sleeps around on his research assistant and romantic partner, Eleanor (Rachel Ward), whose own death could be right around the corner.
I’m doing my best to stay as spoiler-free as possible here, not just because I think plenty of slasher fans still need to see Night School, but because the film is quite determined to be a whodunit in the classic Italian giallo sense. The kills are brutal and elaborate, the killer deliberately covered head-to-toe in leather and a gleaming black helmet, the knife and the headhunting a disturbing signature. Avergon’s script is well-versed in the trappings of exactly this kind of story, complete with red herrings galore. And yet, by the time it’s all wrapping up, there’s also the sense that the answer was right there in front of you the entire time, something the very best films by legends like Mario Bava and Dario Argento could also achieve.
But on to the restoration: Like the best of the gialli, Night School is also a beautifully engineered film full of colors and delicate camera compositions and sound design. The opening kill, which takes place on a playground carousel outside of a daycare, is rich in exactly this kind of thing, from the cityscapes that lead into the scene to the sound of a motorcycle slowly rolling forward, its engine already dead. Cinematographer Mark Irwin, best known for his many collaborations with David Cronenberg, paints the film in rich reds, absinthe greens, and haunting, chilled blue-white light on wet Boston streets, all of which are preserved beautifully by the restoration team at work on this one.
It’s a movie that very deliberately evokes a specific place – the aging streets of Boston in the 1980s, and the halls of relatively low-level academia – and then takes that place into haunted territory, saturating every frame with color and shadow that suggests a killer lurking just out of view.
Night School is not a massively gore-heavy film, but it does deliver the slasher goods with a series of tense, often unpredictable kills and body discoveries that range from the darkly comic to the flat-out jaw-dropping. That’s thanks to the sound design, the score, the editing from Robert Reitano, and more, all of which add to the film’s giallo soul.
In every case, the scene’s geography is outstanding, and it’s easy to see where the simplest possible kill shot might land, but the film never goes for the obvious. Throw in a surprisingly (for 1981, anyway) feminist bent to the storytelling and some very progressive moments for an early slasher film, and this one fits right in with Black Christmas and The Slumber Party Massacre as a film with depth you can just keep unpacking.
That depth, helped along by a load of featurettes and two new commentary tracks featuring members of the crew, is what stands out the most in this new 4K set. Night School may be a niche film recognized mostly by horror addicts and the slasher faithful, but it deserves to be something more, a landmark on the roadmap of slasher cinema history. It’s one of the best in the genre, and this restoration highlights, underlines, and shouts that from the rooftops.
Night School is now available in 4K UHD from Vinegar Syndrome.
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