Film

Phantasm (1979)

Phantasm

Director: Don Coscarelli
Cast: A. Michael Baldwin, Bill Thornbury, Reggie Bannister, Angus Scrimm
Distributor: Anchor Bay
MPAA rating: R
Studio: New Breed Productions, Inc.
First date: 2008
US Release Date: 1979-03-28 (General release)

It arrived during the final phases of classic '70s horror, an era that had seen The Exorcist, The Texas Chain Saw Massacre, and Halloween reestablish the genre's credibility as a cinematic art form. John Carpenter's slasher suspense story specifically reinvigorated a flagging industry interest in scary stuff, and the marketplace was preparing for a flood of finely tuned copycats. But standing out there all alone in the macabre wilderness was independent filmmaker Don Coscarelli. Having had some minor success with more family-oriented fare, the young director noticed that an inconsequential moment of fear during one of his more genial movies really gave audiences a start. Wanting to capitalize on such a crowd reaction, he parlayed a dream he once had, along with a collection of ideas and icons he had collected from years as a drive-in B-movie buff, into an experiment in terror. Labeling his final product Phantasm, he sent his monster movie out into the commercial landscape to see what would happen. The results were unexpected.

Something strange is happening over at the Morningside Cemetery and Funeral Home. People have been disappearing and interned bodies have gone missing. The enigmatic director of the parlor, a strange figure only known as The Tall Man, appears to stalk the small suburban California town, and this makes Jody Pearson, his little brother Michael, and their pal Reggie very uneasy. When a mutual friend is found dead in the local graveyard, all eyes shift to Morningside. A late-night visit inside the mausoleum reveals some stunning supernatural surprises. The paranormal follows the Pearson boys as they try to make sense of what's going on. It's not long before young Mike is seeing the Tall Man everywhere he goes. With his older sibling firmly in the madman's demonic sights, Mike knows something sinister is definitely afoot.

Phantasm was the Scream of its era, an ironic nod and wink to the formulas and familiarities of the creature feature deconstructed by a man who really understood the genre he was jeering. Since the slasher film was still a glowing glimmer in Tinseltown's tainted eye, director Don Coscarelli relied on the previous two decades of drive-in horror, a catalog of films filled with monsters, graveyards, psychotic killers, and even a smattering of science fiction, to foster his vision. They became the bricks for his new form of fear, the building blocks for a surreal narrative that sacrificed sense in order to keep the shivers alive and electrifying. While some didn't mind that the plot seemed pointless, a creative clothesline upon which various shock set pieces could be fashioned, others saw beneath the scattered surface to recognize what Coscarelli was really after.

Between the tender familial drama, the clever character turns, and one glorious moment of gore, at its core, Phantasm was and remains a movie about the nature of dread. It's an experiment in what makes us afraid. It uses any and all terror tenets—suspense, bloodletting, the unknown, the unstoppable—as gears in an ever-churning macabre machine. Perhaps the clearest indication of Coscarelli's success remains the enigmatic villain he created, the iconic Tall Man. It's rare when a movie can leave behind such a lasting impression. For Phantasm, this lumbering ghoul remains its legitimate legacy.

But there is more here than just Angus Scrimm in a badly fitting suit. For anyone who grew up with old-school horror, Phantasm felt like and continues to play like a primer. Coscarelli obviously knew what fans expected and what the average person believes to be scary or unsettling, and went with a clear kitchen sink creepy approach. From the opening which mixes sex and slaughter to the sequence where a severed finger turns into a ravenous beastie, there are no set rules in the Phantasm universe, no logic to the way terror becomes part of the real world's temporal plane. Coscarelli has often said that he was influenced by surrealism, recognizing the inherent power in particular imagery juxtaposed together.

Phantasm is full of such moments: Mike's vision of the Tall Man in an antique photo; the Lady in Lavender's subtle shape shifts; the fog encased vision of Reggie's ice cream truck overturned and motionless; the menacing marble mortuary with its floating metallic "caretaker." Though they seem to have no link to each other (and let's not get started on the whole Jawa/space slave issue, okay?), and individually would appear more singular than substantive, Coscarelli manages to make them seem wholly organic to the strange circumstances we are stuck in. As a result, their inherent power to unsettle stays with us long after the final false ending has arrived.

The key to making this all work starts with solid performances from a completely complementary cast. Your performers have to play with, not against you, adding to the overall effectiveness of the terror. In this case, Coscarelli found a good friend (the excellent Reggie Bannister), a well-meaning musician (Bill Thornbury), and a precocious kid he had worked with before (A. Michael Baldwin), and forged a unique and totally authentic bond. Some may wonder about the front porch jam, Reggie and Billy banging away on some self-penned blues stomp, but the truth is, nothing establishes communion better than the sharing of something as personal as music. We immediately understand the connection and recognize the attachment both have for each other.

Similarly, Billy and Michael play siblings with a love of cars (in this case, a completely bad-ass Barracuda) and tinkering, and it's a mutual experience that helps fuse them together as a family. With other standard '70s touches like dead parents, issues of abandonment, and the usual adolescent concerns of growing up and taking responsibility, Coscarelli creates a character dynamic we truly believe and support. Since we accept the relationship of the trio, we have a much easier time of falling into the fear.

Still, Phantasm remains a director's film, a highlight reel that also manages to be an effective fright flick. Coscarelli, who had made a couple of midlevel mainstream movies before diving into dread, obviously knows his way around a camera. His placement throughout this film is fascinating. He uses low angles and obscure framings to keep things uncomfortable, and applies handheld and other POV techniques to keep the audience directly involved in the action. This is particularly true of a late-night car chase between the Pearson boys and the Tall Man's driverless hearse. As Jody climbs out of the Cuda's sunroof to level a shotgun at the vile vehicle, Coscarelli's lens is right there, standing directly between the trigger and the target.

There's also a sense of Hardy Boys-like adventure here, a concept of personal ingenuity and everyday invention that keeps viewers curious and connected. When Michael is locked in his room and looking for a way out, his MacGyver-like creativity results in one of the movie's most memorable stunts. Similarly, when faced with having to outsmart the villainous maniac mortician, the boys rely more on their brains than their brawn to find a shorthanded solution. It's all part of the queer contrasts at play here. Phantasm has a narrative locked in its own perplexing universe, yet its director constantly strives for some manner of realism and authenticity.

There will be some who complain about the special effects (though the movie's most memorable bit of brain-draining is still as shocking as it was three decades ago) and the often ambiguous explanation for just what is going on at the Morningside Funeral Parlor. Yet Phantasm remains a viable entity some 28 years after its release because it represents something unique in the post-modern world of horror. By mixing up all the hocus pocus possibilities of the genre into a single supernatural stew, Coscarelli both reinvigorated and set the death knell for the next two decades. But Phantasm remains his best known effort, a four-film (and growing) franchise that has its basis in one fabulously fascinating movie. At the time, it literally shook the scare fanbase. Today, it's a testament to one man's amazing ability.

9

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Music

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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