The Spooktacular Eight #7: The House On Skull Mountain (1974)

Blaxploitation isn’t my forte, but there’s a lot of horror movies in this vague “category-label”.

I like to not go for the obvious choice (when possible), and we didn’t spotlight an “old dark house movie” with the more typical murder mystery set-up of always: reading of the will of long distant relative that recently croaked in presence of his nephews, many not having ever seen the old lady or the other cousins before this very occasion.

It just happens the deceased was a voodoo priestess living in her southern estate, and her relatives that stay to hear the will are being killed off one by one with voodoo magic, with the survivors trying to figure out who is the killer before it gets to them as well.

And i guess it worked a bit too well as this was the final film for Mike Evans (Good Times, The Jeffersons, All In The Family), not his final acting role, thought.

As you could guess from the plot and the title, it’s a blackploitation horror film with a somewhat gothic theme, due to the mansion and it taking place on “Skull Mountain”, which means some real estate did Skeletor dirty, so to speak. I say “somewhat” due to voodoo being involved, but it’s magical, supernatural stuff regardless, and it looking at a different tradition makes it less trite.

And as one of the characters puts it “one doesn’t exclude the other”.

In case you disagree, there’s the costant thunder cracking outside the mansion (yes, done in the exact same fashion you expect) that sets the gothic mood, the nearly costant rain and some fog. And “tribal drumming”.

An irksome point is that i feel the characters called there to the house were made cousins and thus related way late into scripting to avoid the very notion of afroamerican and white people (as one of the cousins it’s played by Victor French) having a relationship, which it’s fuckin racist as hell, but even odder since they didn’t change some of the music during the “date” montage to fit this.

It’s iffy, to say the least, but it’s also a sign of the decade it was made, i guess.

Despite what you may think, the “blaxploitation” label it’s kinda ill fitting, as this doesn’t have gratituous gore, nudity or harsh language (it barely has blood), it’s indeed a old dark house type of horror thriller that focuses on the atmosphere, the supernatural events and magic, and it’s fairly effective, a bit on the cheesy side (as there are skull shaped door knockers) but spooky indeed.

It’s a bit slow at times since it’s not a mystery who’s actually causing the murder and how, so you wait for a twist, and after a ritual tribal dance scene that goes on a little longer than i liked (to be honest i had enough of rhytmic african drumming solos for a good 6 months)… you don’t really get it either, as the situation it’s pretty much what you thought was shaping up to be.

But you get a pretty spectacular finale, so it’s definitely more than “fine”.

I honestly don’t have much else to say or to complain about, it’s good.

Solid production values, good atmosphere, good acting, and not really exploitative, so i can conclude i’d recommend giving The House On Skull Mountain a good watch however you can.

And remember, blood and magic are thicker than water or skin pigmentation.

Seriously, it’s a good one not deserving its relative obscurity.

[EXPRESSO] 32 Malasana Street (2020) | The Madrid Haunting

A Spanish-French coproduction, going by the international title of 32 Malasana Street, which is nearly identical to the original spanish title.

So of course it arrives in italian theathers titled “Possession – L’Appartamento Del Diavolo” (which translates to “Possession: The Devil’s Apartment”). Of course.

Originally i was planning to see it last Halloween, but i didn’t manage to because another lockdown hit cinemas here the day after this came out, and turns out it has been delayed to now. I was gonna see it due to “starvation”, since i don’t really care about the “possession-demons” subgenre, it’s definitely not my favourite type of horror movie, but i’ll give it a fair shake regardless.

The story has a nice backdrop, as in it’s set in 1976’s Madrid, just after the fall of Franco’s regime, and follows the Olmedo family moving to the capital in search of a better life. They get lucky and somehow find an apartment in the city center for a bargain. Things start getting better, but strange, unexplicable events keep happening in the house, until the youngest child, Rafael, just disappears.

Ah, yes, the old horror movie tradition of estate listings being too good to be true.

I’ll be honest, 32 Malasana Street isn’t original in any way, it uses a lot of familiar clichès (especially for “possession/haunting”flicks), and i mean a lot, the premise is as stock as it comes, but there’s some gusto and a lot of confidence to the execution that it helps the movie in rising above being the usual rubbish.

It definitely helps that the entity is quite aggressive from the get go, things happen at a good pace, the character are quite decent, quite relatable, the audio design is pretty good and there’s an expectedly “sensitive” good twist to boot.

Surprisingly decent.

[EXPRESSO] The Deep House (2021) | The House In The Lake

This time we tackle a french horror version of Wet-Dry World from Super Mario 64.

Or that Everblue/Endless Ocean horror version i joked about during Shark Month.

Withouts sharks.

Not that it matters much this being a french production, as the two main characters,an american couple filming “haunted places” in search of Youtube fame and fortune, are played by american actors. The couple goes to a very small little French town in hope to cover the artificial lake, but instead got wind of a perfectly intact house resting in a remote part of the lake, and decide to dive and film their underwater adventure.

I like the scenario, big fan of scuba diving and submerged mysteries as a whole, the premise is decent and takes from european folklore (there are many stories about submerged little villages), but The Deep House leans a bit too much into said premise, never bothering to properly execute it and just stuffing it with cliches.

And has a “cowardly” script that quotes half the famous “it’s not dead which can eternal lie” couplet from Call Of Chthulu, but doesn’t really go there, despite having the perfect setup and excuse to do so.

Also, its one of those horror movies shot mostly in found footage style… just to make some of the things happening harder to see. No real reason otherwise.

It’s not awful, it has some good cinematography, but it’s a horror movie with decent atmosphere (and even that it’s kinda low effort, as it’s baked in the scenario) and almost no tension or scares (aside a single effective jumpscare), more worried about looking good that having any real bite, doesn’t help that the main couple isn’t exactly that likeable (especially the guy), interesting or otherwise well characterized.

Overall, it’s sadly a pretty mediocre experience.