Being a fan of both Henry Rollins and trashy horror films, I was intrigued to seek out Jason Connery’s 2009 direct-to-video horror The Devil’s Tomb. Rollins (who can’t forgive for raping SAMCRO matriarch Gemma in the second season of Sons of Anarchy) turns up here as a priest trapped in an underground laboratory, deep in the desert, where strange things are afoot.
Cuba Gooding Jr plays war veteran Mack, who heads up an elite group of soldiers tasked with retrieving a scientist called Wesley (played by another Sons of Anarchy star, Ron Perlman), who has gone missing beneath the shifting sands. Accompanied by a shifty CIA operative, Mack and his rag-tag team of gung-ho soldiers descend into the laboratory, which they find sabotaged and abandoned, except for Rollins’ strange priest. As they go in search of Wesley, Mack learns that the compound’s scientists inadvertently released a supernatural force while investigating an ancient archaeological find.
What follows is a spooky, gory tale that relocates Lamberto Bava’s cult film Demons and John Carpenter’s underrated Prince of Darkness undergound, as a malevolent supernatural force (actually fallen angels called Nephilim) infects the team, turning them into gooey legionnaires of evil.
The gore scenes are quite in-your-face: especially the lesbian boil licking scene (yewww!) and the eye slicing acid scene; but actors of the calibre of Gooding Jr and Perlman are wasted here. Rollins, however, does make a very convincing religious fanatic. And just what is Ray Winstone doing here popping up in a flashback and at the end. Well, if you stick it out, then it makes sense (sort of). Though I think Winstone only did this a favour to his old Robin of Sherwood mate (Connery).
If you enjoy shock schlock, 1980s style, then The Devil’s Tomb is passable entertainment, but it’s nowhere as good as the likes of Event Horizon and Quatermass & the Pit, which it also resembles. Watch out, though, for Rob Zombie favourite Bill Moseley as one of the possessed scientists.
Best line: ‘Let us dine on the afterbirth of her new beginning’.
The Devil’s Tomb is released through Lionsgate in the UK and also screens on The Horror Channel (Sky 319, Virgin 149, Freeview 70, Freesat 138), with the next showing today at 11pm.
The Shout (1978) | Alan Bates gives his loudest performance in the bewitching and bewildering British occult thriller
A FILM OF INTENSE PERVERSITY – THE MADNESS OF THE MIND
While on scoring duties at a cricket match in the grounds of an asylum in the village of Lampton, author Robert Graves (Tim Curry) is introduced to one of the inmates, Charles Crossley (Alan Bates), who proceeds to tell Graves a strange and terrible story about how he met one of the players, Anthony Fielding (John Hurt)…
After inviting himself into the Devon cottage home of Fielding and his spirited wife Rachel (Susannah York), Crossley tells Fielding of the strange gift he learned while living amongst a remote Aboriginal tribe: he can kill anything and anyone just by shouting at them. Sceptical yet enthralled, composer Fielding, who also dabbles with experimental sound recording, agrees to a demonstration – and gets the shock of his life. But is Crossley’s tale fact or fiction?
IT’S JUST NOT CRICKET!
The Palme d’Or-nominated occult thriller The Shout is without doubt one of the strangest titles to emerge out of late-1970s British cinema. With an eye on creating an art house film that cineastes could muse over, producer Jeremy Thomas (this was his second film) hired Polish director Jerzy Skolimowski (on the back of his excellent underground cult drama Deep End) to weave his magic on a sinister 1924 short story from Robert Graves (of I, Claudius fame). The results are bewildering and bewitching in equal measures.
Skolimowski took the job primarily because he wanted to film a typically English cricket match. He does just that by fashioning a Pinter-esque drama with supernatural overtones set in the windswept sand dunes of a coastal Devon. To give the spooky tale its quirky edge, Skolimowski incorporates Australian Aboriginal mythology – which was used to great effect in Peter Weir’s disturbing 1977 apocalyptic thriller The Last Wave. While its debatable that Weir’s film influenced Skolimowski, his thriller certainly evokes Jonathan Miller’s 1968 BBC TV adaptation of the MR James ghost story Whistle and I’ll Come to You, especially in Mike Molloy’s serene photography of the north Devon coastline, and 1961’s Whistle Down the Wind, which also featured a stranger (also played by Alan Bates) insinuating himself on a family in a remote location.
The Shout itself is a heady explosion of sound effects that would have impressed in its day, especially in cinemas where the new 4-channel Dolby Stereo had been installed. The film’s soundtrack, meanwhile, was supplied by Genesis’s Michael Rutherford and Tony Banks. Also impressive is the cast: Alan Bates, fresh from TV’s The Mayor of Casterbridge, oozes masculine charm as the brooding, bellowing stranger, who may or may not possess shamanic powers; Susannah York, who’d do Superman next, plays the restless, often naked, Rachel with elegant ease; and John Hurt gives an understated performance as her wayward husband. Also in the mix is Tim Curry in one of his few straight-acting roles, playing a fictionalised Robert Graves; and a very young Jim Broadbent making his film debut as a hospital inmate.
On the flipside, however, I was left confounded. High on menacing atmosphere but low on substance, The Shout takes the long way round to nowhere. Even Skolimowski’s skilful direction can’t make up for the film’s many loose ends – especially the ‘shocking’ anti-climax. Still, this peculiar film is one to muse over – again and again.
THE UK BLU-RAY RELEASE
The Shout is presented by Network Distributing, part of The British Film collection, in a brand-new High Definition transfer made from the original film elements, in its as-exhibited theatrical aspect ratio. The special extras were originally included on the 2007 DVD release, except for the interview with producer Thomas, which is exclusive to this release.
• Interview with producer Jeremy Thomas
• Audio commentary with Kim Newman and Stephen Jones
• Original theatrical trailer
• Textless material
• Image gallery
• Original press material PDFs