2011 Awards, Emily Style

Hey, not every movie can be awards chloroform like The Artist or Hugo. Some need a little help, even if they already have Mickey Rourke's badass headgear Nicholas Cage's non-accent-in-a-period-film to help them out. Hence, head over to the Gentlemen's Blog to Midnite Cinema for my very own version of the Emily Oscars. There will be clowns, there will be brazen bulls, there will even be Muppets, but sadly there will never, never ever never, be enough dinosaurs.

Go figure out what I mean.

(Dead) Bird Is the Word

Jeepers do I wish there was more historically set horror. Though I imagine big studios are reluctant to drop heavy money bags on a sub-genre that makes mass audiences feel dumb and low budget producers have enough to worry about without the added pressure of period-appropriate props, watching zombies shamble in a pre-panic room world or werewolves hunt car-less victims is just more interesting.

2004’s Dead Birds has a lot of appeal for bored horror fans. With a way better than average cast and more importantly, a Civil War setting, it takes a fresh (in an old fashioned way, if that makes sense) approach to good old Satanism and ghostly hauntings.

Quick Plot: A ragtag gang of bandits (deserting Union soldiers, a love interest nurse, and an escaped slave) introduce themselves by robbing a Confederate bank and spilling a whole lot of impressive/over-the-top blood. In need of rest, leader William (E.T.’s Henry Thomas, bearded and believably manly) leads them to a deceased soldier’s abandoned mansion where CGIish children, scarecrows, and weirdly hairless human-sized dog thingies slowly appear as our antiheroes split up to develop and reveal their own conflicts.

William feels guilty for accidentally shooting a child. His lady friend Annabelle seems haunted by the death of a lovelorn soldier and, in the most interesting, yet least developed plot thread, Michael Shannon’s Clyde and Mark Boone Jr.’s Joseph hesitantly plot to ensure their share of the loot doesn’t fall into the black hands of Todd (Isaiah Washington). Naturally, these flawed individuals are prime fodder for the mysterious villains eager to harass their uninvited guests.

In terms of plot and execution, there’s nothing overly exciting about Dead Birds. The ghoulish kid monsters have a creepy quality, but the forced jump scares are far too reminiscent of J-horror sprites. At the same time, the setting itself and high pedigree cast lend a whole lot in elevating the film above the usual straight-to-DVD fare.

High Points

Am I being too hopeful, or was the eerie ragdoll with eyes and mouth sewn shut a vague visual reference to the debut Doll’s House feature, Cathy’s Curse ?

Though some viewers may complain about the not-quite complete mythology the bizarre nature of the kills is both unique and disturbing

Low Points

Peter Lopez’s score isn’t terrible, but it’s used in such a predictable way that generally negates any scare potential packed by the surprise images

I don’t mind--in fact, my High Point proves, I rather enjoyed--the lack of any specific explanation, but leaving the fate of one major character to an incomplete image is a little frustrating

Lessons Learned

Sadly, real gold does not contain a chocolate center


Slutty 19th century nurses can really bring your day down

Always pay close attention to the incredibly obvious musical cues. It will totally protect you from the inevitable jump scares.

Rent/Bury/Buy

This is a genuinely solid watch that can certainly grab you if you’re in the right mood. Though I had a few issues with some of the execution, the Western/Confederate spin and confident ghost story is a definite rent that will probably hold up for repeat viewings. I’d love to see director Alex Turner sharpen his own voice a little more without relying on a few contrived cinematic tricks. Even so, Dead Birds is a solid recommendation that will offer tired horror fans something new.