AKA Evil Dead 2: Dead by Dawn “What distinguishes Evil Dead II is that it isn’t a horror film with comic moments or a comedy with frightening moments. It is instead a true horror-comedy that taps into the fact that both comedy and horror rely on weirdness, incongruity, and shock.”–Victoria Large, Brattle Theater Film Notes
PLOT: Young Ash takes his girlfriend to a deserted cabin in the woods for a weekend of romance; unfortunately, the hideout was the former abode of a deceased archaeologist who had discovered a “Book of the Dead” the ancients believed could call forth an evil spirit and allow it to possess the bodies of the living and the dead. Ash plays an old tape by the professor in which he reads the magical words of summoning, and the spirit does indeed come and possess Ash’s girlfriend (whom he is forced to dispatch gruesomely). That’s only the beginning of Ash’s troubles, however, as, trapped in the cabin, now must fight off a horde of demonic presences, at first all alone and later with the help of the professor’s daughter and her companions.
Evil Dead II is much more a remake of, rather than a sequel to, Raimi’s low-budget drive-in hit The Evil Dead (1981) (although that point is technically debated among fans). Where The Evil Dead was a straightforward horror movie, Evil Dead II is a comedy in a horror setting. Actor Bruce Campbell reprises his role as Ash from the first film; it was this performance that made him into a cult actor.
This was Raimi’s third feature film, after The Evil Dead and the weird, Coen brothers scripted comedy Crimewave! (1985). He would go on to mainstream success when he was tapped to direct the Spider-Man series.
Powerful horror novelist Stephen King, a fan of the first Evil Dead, introduced Raimi to Dino de Laurentiis and convinced the producer to fund Evil Dead II after Raimi declined an offer to adapt King’s story Thinner.
Followed by a sequel, Army of Darkness (1992). Rumors of a fourth film in the series have circulated since the mid nineties; currently, an Evil Dead IV is listed as “in development” on the Internet Movie Database, although this is far from an assurance that a fourth film will be made.
INDELIBLE IMAGE: Ash fighting his own disembodied hand: a scene that starts out creepy, but becomes a slapstick routine, ending up in a groan-inducing pun.
WHAT MAKES IT WEIRD: Oddly, Evil Dead II‘s credentials as a weird film are called into
Original trailer for Evil Dead II
question by its almost unqualified embrace by critics and gorehounds alike: can anything that is so widely beloved, anything that fails to alienate either the high or the lowbrow, really be authentically weird? In fact, Evil Dead II is only slightly weird, but the events of the cabin feverish middle portion of the film—where the battered Ash seems to be hallucinating the horrific events—are just bizarre enough to make Evil Dead II eligible for inclusion on list of the weirdest films of all time. Add to those scenes the over-the-top gore, slapstick and constant surprises of the film’s last half, and you get a lovable mish-mash of a movie with a one-of-a-kind comic tone that is too exhilarating to be left off a list of the weirdest movies of all time.
“This fearful worm would often feed on cows and lamb and sheep,
And swallow little babes alive when they lay down to sleep.
So John set out and got the beast and cut it into halves,
And that soon stopped it eating babes and sheep and lambs and calves.”
–Lyrics to “The D’Ampton Worm” from Lair of the White Worm
PLOT: An archeology student visiting the British countryside digs up an elongated skull he assumes belongs to an dinosaur while excavating the site of a buried convent, now an English bed-and-breakfast run by two young sisters. Lord James D’Ampton is the boyfriend of one of the sisters, and also the descendant of a legendary D’Ampton who reputedly slew a dragon (the “D’Ampton Worm”) that had terrorized the countryside. After wintering in climes unknown, slinky and regal Lady March returns to her mansion and discovers the skull, after which strange events begin to transpire…
Russell’s script was very loosely based on Bram (“Dracula”) Stoker’s 1911 novel, although the similarity almost ends with the shared title.
This was Russell’s second horror film in three years after Gothic (1986).
Hugh Grant had roles in six films released in 1988, including portrayals of Chopin and Lord Byron.
This was Amanda Donohoe’s second starring role in a feature film. She went on to greater fame when she joined the cast of the hit T.V. show “L.A. Law” in 1990. Catherine Oxenberg, on the other hand, had made a name for herself on the hit T.V. show “Dynasty,” and this was her first feature role in a theatrical release.
INDELIBLE IMAGE: A 30 second hallucination sequence featuring Roman soldiers raping nuns before a cross on which a monstrous worm slithers over a crucified Jesus while a topless blue vampire woman looks on joyfully, waggling her tongue. The scene is dressed up in lurid colors and performed in front of a deliberately cheesy looking blue-screen inferno. So over-the-top and parodic that it’s not nearly as offensive as it sounds.
WHAT MAKES IT WEIRD: Ken Russell throws a handful of his typically excessive hallucination/dream sequences into what is otherwise a subtle horror parody, creating a minor masterpiece of deliberate camp blooming with ridiculously memorable scenes.
“I mean, I don’t know how to describe it. But I just did. It’s just an insane f***in’ movie with insane parts. You’re watching it, it gives these curves that you didn’t see coming, until probably I just told you and showed you in the review. But it’s just I don’t even know how else to review it, you know, the, it’s just insane. It’s an insane f****in’ movie. Uncle Bill, you’re insane for liking it, and I’m insane for liking it too. It’s just insanity incarnate. But it’s a lot of fun.”–youtube fan review of Blood Diner
DIRECTED BY: Jackie Kong
FEATURING: Rick Burks, Carl Crew
PLOT: At the direction of their uncle Anwar, a talking brain in a jar, two restaurateur brothers assemble a vessel composed of body parts harvested from immoral women to receive the spirit of the ancient Egyptian goddess Sheetar. They are opposed by a pair of mismatched cops and the owner of a rival vegetarian restaurant intent on stealing their secret recipe. After many bloody murders, they must complete only the last ritual, a “Lumerian feast” where Sheetar will take the life of a virgin, along with the attendees at the banquet.
Blood Diner was originally intended to be a sequel to Herschell Gordon Lewis’ transcendently bad Blood Feast (1963), but when the collaborators could not agree on a scenario the project was changed to a black comedy tribute in the spirit of Lewis’ movie.
Blood Diner was originally banned in some Canadian provinces and in Iceland, and was heavily cut for release in other countries.
INDELIBLE IMAGE: As drug-zombies rave and cultists in Egyptian dress attempt to channel the goddess into a stitched-together corpse, a punk band (composed of a singer in a Roman helmet, two backup singers in blue wigs, four sidemen dressed as Hitler and a pantomime horse roaming the stage) plays in the background.
WHAT MAKES IT WEIRD: Most movies featuring talking brains in a jar are weird, and Blood Diner is no exception.
PLOT: A dowdy nurse contracts an odd strain of the zombie virus which changes her into
a flesh-eating sex maniac.
WHY IT WON’T MAKE THE LIST: There are plenty of weird elements in this low-budget B&W horror comedy, from slightly out-of-sync dubbing to deliberate overacting to Eraserhead-inspired dream sequences, but they seem forced and shallow, like an attempt by the filmmakers to distance themselves from the thin material they have to work with.
COMMENTS: One of the hardest things to do in the movie universe is to make deliberate camp. Yet, it’s a pitfall that beginning directors seem to fall into over and over. They want the audience to realize that they are too talented to be making a silly zombie nurse movie, when what the audience really wants is to not notice the direction and enjoy a silly zombie nurse movie. There is some talent on display here, especially in the black and white photography, but overall the humor is alternately too subtle and too broad to work. It’s obvious that the filmmakers and the crew and actors (who worked for free) enjoyed themselves tremendously, and that do-it-yourself enthusiasm comes across on screen and makes the movie seem less of a failure than it might otherwise have been.
Parts of the movie are obviously inspired by the look and feel of the films of fellow Canadian Guy Maddin. In fact, the movie was originally intended to be silent (which may help explain some of the mugging for the camera from the guy who played “handsome” doctor). The dubbing was added later by different voice actors, after the director and producers decided Graveyard Alive didn’t work as a modern silent.