The Movie Man: My Top 10 Favorite Scary Movies

It’s that spooky time of year … Photo by Sergiu Baica on Unsplash.

Kevin Ganey is ‘The Movie Man.’

Well, it’s that time of year, to which we refer — in a cringey, cliched manner — as “Spooky Season.”

Not only do the decorations come up, but we seek out that which scares us in all mediums. And so I think it’s only appropriate if I share my favorite scary movies with the readers of LymeLine.

I’ve decided to present them in a Top 10 List in the manner of David Letterman. Whether I’m as witty or humorous as him is for the reader to decide …

And so here we go.
10. Aliens
This is, no question, one of my favorite action movies of all time. And there could be no more frightening a monster than the Xenomorphs from the Alien franchise (a creature that bleeds acid). While the first movie certainly keeps you on the edge of your seat, we’re not dealing with one of these monsters this time, but an entire planet.
9. Jaws
Name any other movie that has made people afraid to go into the water. I’ll wait. (Not exactly an autumn movie … maybe Labor Day at best?)
The malfunctioning mechanical shark led Spielberg to jump on the innovative idea popularized by filmmaker Val Lewton that it’s not what we see that scares us, but what we don’tsee; hence shooting the scenes from the shark’s point of view in the first half.
I personally think the scariest scene doesn’t involve the shark, but Quint recounting his survival story on the USS Indianapolis.
8. The Innocents
The creepiness begins right off the bat with a child singing a lament that chills you to the bone. There’s something about children and ghost stories that perverts the very nature of the latter …
An adaptation of Henry James’ novella The Turn of the Screw (with a script co-authored by Truman Capote), this film depicts a governess in Victorian-era England caring for two small children, one of whom may be possessed by the ghost of the estate’s former groundskeeper.
7. The Changeling
I discovered this little known film starring George C. Scott when I saw it was included in Martin Scorsese’s Top 11 Horror Films. Simply put, it was the first movie to scare me in years. I would describe it as the perfect ghost story film, with the spirit of a child reaching out to the living from beyond the grave for overdue justice.
6. The Exorcist
Modern audiences will not be scared by this film, but that is only because filmmakers have built layer upon layer of this groundbreaking piece. Initially, what scared me most about this movie was the make-up/mask worn by Linda Blair as the possessed Regan McNeil.
But what scared me following that was learning about the concept of demonic possession — an aspect of my life (faith) that I had not been introduced to before. It was the equivalent of learning that your neighbor was a mafia hitman.
What was most terrifying was the technical accuracy of the process in which the Catholic Church investigates and gives the green light for exorcisms. The vulgarity and obscenity scandalized many (and was actually encouraged by the clergy, based on alleged cases of possession), so much so that many towns refused to show it in their local theatres, which led to bus trips to the nearest possible town for viewing parties.
During its initial release, viewers were prone to faint and ushers were trained to awaken said viewers with smelling salts.
5. The Silence of the Lambs
If you are not won over by the fact that this is one of only three movies ever to have won the “Big Five” at the Oscars (Best Picture, Best Director, Best Actress, Best Actor, and Best Adapted Screenplay) since, let’s face it, the Oscars are not the right metric for good movies, perhaps I can simply quote a couple of the many chilling lines from the movie.
How about, “I ate his liver with some fava beans and a nice Chianti,” or, “It rubs the lotion on its skin, or else it gets the hose again.”
Jodie Foster recalled that, because of the way the film was shot with face-fronting angles, she and Anthony Hopkins rarely had a scene together. Later on she shared how terrified she was of his performance as Dr. Hannibal Lecter, while he separately shared that he was scared of her.
Also consider that Hopkins, while appearing for less than 30 minutes on screen, qualified for the category of Best LeadingActor (talk about having an impact.)
4. The Omen
The theology revolving around the Anti-Christ and eschatology is absolute c–p, but we cannot deny the eeriness.
The movie rips Bible verses out of context to create an ominous, prophetic feel about world events revolving around the American ambassador Robert Thorn (Gregory Peck), who swapped his stillborn baby for another, whose mother died while giving birth at the same moment … and this child turns out to be the spawn of Satan.
There’s a mystery feel to it, as Thorn investigates why spooky occurrences have been happening since the fifth birthday party for his “son”, Damien. Add Jerry Goldsmith’s Academy Award-winning score, and it can’t get much better than that.
The scene in which Thorn visits the ruins of an ancient Etruscan cemetery to find the truth about Damien’s “mother” still creeps me out to this day.
3. The Birds
No joke, the day after I saw this, a flock of birds flew by me and I shuddered. I was suddenly afraid of simple, little creatures that I saw every day. I think that’s all I need to say to summarize the power of this movie.
2. Psycho
Similar to The Exorcist, this film does not give us the jumps that it gave upon its initial release in 1960 (as many filmmakers have built upon its innovations in the years since), but we cannot deny that Norman Bates is, almost without question, probably the most disturbing character in all of cinema.
What terrifies me the most is not the iconic shower scene, but the finale in which the psychiatrist explains why Norman is the way he is.
And the number one pick for favorite scary movie of all time goes to…
1. The Shining
There is no question that this is a masterpiece of cinema. Stanley Kubrick’s adaptation of Stephen King’s 1977 bestseller was not well-received upon its initial release in 1980, but it has since aged like an exceptional fine wine.
With top-notch performances by Jack Nicholson and Shelley Duvall, accompanied by musical pieces by Krzysztof Penderecki, one cannot deny this terror-infused tour-de-force.
As I said in my introduction, in this season we will start seeking out what scares us. Some will go for decorations, costumes, and some will seek out theme parks (I’m anxiously trying to get to Six Flags for Freight Fest this year). But again, you can’t go wrong with a movie, a medium that combines all forms of art and is accessible, in the words of Shakira, “Whenever, Wherever …”
About the Author: Though no longer a resident of Lyme, Kevin knows he can never sever his roots to the tree of his identity. When not attending to his job in Boston, he is committed to ensuring a better grasp of current (and past) releases of cinema to his home community as he strives to leave his own mark in the same field that has always been his guide to understanding life. If you enjoy his published reviews here on LymeLine.com, follow him on his website at ‘The City of Cinema and read more of his unique insights into entertainment.

The Movie Man: A Ticket to ‘Dune’ is Worth Every Penny

Kevin Ganey is ‘The Movie Man.’

There is nothing groundbreaking about Dune (think special effects or storytelling). But every technique invoked was done in the proper manner. I was beyond satisfied with every choice made in production. Cinematography, music, acting, editing … it was all done right.

I cannot emphasize enough how pleased I was with this adaptation of Frank Herbert’s 1965 sci-fi novel. While I had not read the book (beyond the first two chapters), friends raved about the adaptation being everything for which they could they could ask.

I also had not screened the 1984 adaptation helmed by David Lynch, but was aware of its poor reception. This is not intended to be a single film, as the novel was the first in a series, and we saw no sequel to Lynch’s version, which should tell us everything we need to know about its quality.

Frank Herbert’s sci-fi novel ‘Dune’ has been made into a just-released movie.

Director Denis Villeneuve (whose previous films include Arrival and Blade Runner 2049) has now delivered a film that makes us eagerly await its next installments. I would say it is the equivalent of a perfectly-pitched TV pilot.

Perhaps what I was most impressed by was the explanations for intricate details and rules for this universe without breaking the fourth wall. It was as if we were conveniently learning everything in preparation for future events without making it obvious and cringeworthy.

There is also the establishment of Zendaya’s character. Although her formal performances are reserved for the end of the movie, she appears via interwoven vignettes throughout the film, conveying her importance.

I cannot review any further without giving away spoilers, even in the slightest manner (I know many people who would react to a minor revelation in a manner equivalent to Frank Costanza on Seinfeld: “I like to go in fresh!”)

In short, the ticket is worth every penny and the trip to the theater is worth every second spent away from home.

About the Author: Though no longer a resident of Lyme, Kevin knows he can never sever his roots to the tree of his identity. When not attending to his job in Boston, he is committed to ensuring a better grasp of current (and past) releases of cinema to his home community as he strives to leave his own mark in the same field that has always been his guide to understanding life. If you enjoy his published reviews here on LymeLine.com, follow him on his new website at ‘The City of Cinema and read more of his unique insights into entertainment.

The Movie Man: Craig is Captivating, Seydoux is Stunning, But ‘No Time To Die’ Fails to Live Up to Expectations

Daniel Craig at the film premiere of ‘Spectre’ in Berlin. This file is licensed under the Creative Commons Attribution 2.0 Generic license.

Special to LymeLine.com

Kevin Ganey is ‘The Movie Man.’

This is a special review for me.

My first ever published piece as a writer was a review for the previous Bond film, Spectre. Much has transpired since then, both for me and the world.

But the appreciation of the art of cinema, manifested in many forms, remains as we struggle with whatever trouble life throws our way. Paraphrasing Mel Brooks, it’s, “Just another defense against the universe,” and a defense that has a special place in my heart.

Bond films are not known for their groundbreaking, cinematic expertise, even if they do consult Stanley Kubrick for lighting (The Spy Who Loved Me, 1977). Yet, they remain a necessity for the movie-going experience. Indeed, there were plenty over the years that pushed boundaries and blew us away.

But No Time to Die is not among those ranks.

Apart from being another installment in the Bond franchise made for the sake of pure entertainment, this one is necessary for screening since it is the final performance of Daniel Craig, who, I will proudly assert, is the best performer to take on the role of Ian Fleming’s iconic spy.

I will praise the movie on three separate counts. Two of them being characters and the other being a driving force for the plot.

Craig’s final run as Bond is indeed the most vulnerable of the 25 occasions the character has graced the silver screen, often portrayed as hardened man, who turns to booze, pills, and sex as a coping mechanism for years of trauma.

Then there is Léa Seydoux, who is the only actress to reprise her Bond girl character from a previous movie. For the record, yes, Maud Adams appeared in two films, but as two separate characters, namely Andrea Anders in The Man with the Golden Gun and the title character in Octopussy.)

Seydoux is, without question, the most sophisticated of all the women, who have blown the world away with their beauty alongside Bond, and she has now provided additional reasons for us to remember her contribution to the franchise.

While I can praise Craig and Seydoux, the same cannot be said for the film’s villains (Academy Award-winners Christoph Waltz and Rami Malek), who simply cannot live up to their performers’ hypes.

Then there is the plot.

Upon screening it, viewers will pick up on some hackneyed elements. But the danger is perhaps the most authentic since Goldfinger (in which the title character seeks to detonate a dirty bomb inside Fort Knox and the subsequent contamination of the gold thus wrecking the US economy.)

Why repeat the evil plans of the third film? Simply put: to remind the reader how impressive it is.

I close this review by thanking Craig for breathing new life into a character. When he took on the role, he transformed Bond from the occasionally campy figure to the gritty, no-nonsense, adrenaline-pumping performances he gave for an era dealing with new forms of international turmoil.

Will he read this? Very unlikely (unless he decides to scavenge local, online newspapers throughout the world), but I can dream, can’t I?

Again, thank you, Daniel Craig. The history of cinema will unquestionably look kindly on you.

About the Author: Though no longer a resident of Lyme, Kevin knows he can never sever his roots to the tree of his identity. When not attending to his job in Boston, he is committed to ensuring a better grasp of current (and past) releases of cinema to his home community as he strives to leave his own mark in the same field that has always been his guide to understanding life. If you enjoy his published reviews here on LymeLine.com, follow him on his new website at ‘The City of Cinema and read more of his unique insights into entertainment.

The Movie Man: Ganey Highly Recommends ‘The Green Knight,’ Says it is ‘Unlike Any Other Fantasy Adaptation’

Kevin Ganey is ‘The Movie Man.’

After more than a year of abstaining from movie theaters, as well as keeping up with new releases (since we were all so incredibly overwhelmed by the tumultuous year that was 2020), I was finally able to screen a new movie in the manner in which this medium was originally intended: on the big screen, sitting among strangers.

I can say unequivocally that it was good to be back!

The Green Knight is unlike any other fantasy adaptation that I have screened throughout my life. (Here is a link to the official trailer for the movie to give you just a sense of it.)

Abandoning the traditional methods used for films among the likes of Harry Potter, The Wizard of Oz, or The Lord of the Rings, the film takes an unnatural approach through unusual cinematography and editing (perhaps to best emphasize the surrealism of medieval legends), akin to the films of Paul Thomas Anderson, Terrence Malick, or the newly recognized Ari Aster (Heredity and Midsommer).

While this film is a fantasy in terms of setting and events, it also blends a thought-provoking arthouse air with what is presented.

I will be completely forthcoming and share that I did not understand many aspects of this movie. Despite this, I will hail it as fantastic.

Why? Because it reminds me of the genre usually produced by the artists I previously mentioned. And like the works of Anderson, Malick, and Aster, I anticipate an analysis to be made available, and I will gain a further appreciation for this piece.

This is not an entirely faithful adaptation of the legend of Sir Gawain and the Green Knight (rarely can one adapt one medium while retaining every aspect of its source material). However, there are many instances in which those behind the movie were able to adapt the original poetic dialogue of the epic in a manner fitting for a motion picture, the lines able to convey the grandness of the subject at hand.

To be fair, the only way I was able to notice these differences was by looking up the summary of the original epic. The last time I read it was during my British literature class senior year of high school (okay, I was assigned it and just listened to my teacher and classmates discuss it. I’m sure I’m not the only one who has done that!)

For me, the greatest satisfaction came in the depiction of the title character, the Green Knight.

Going back to my high school years, if this story ever came to mind, I would wonder how this character would be portrayed. How would he be green? What would give him the recognition and terror that was woven into his identity?

Enter a man who appears to be a hybrid between human and vegetation, and a bellowing English countryside voice (provided by Ralph Ineson).

The Knight requires an appearance that would make him inhuman and terrifying. How else could we justify a character who, upon challenging Gawain and the rest of King Arthur’s court to chop off his head, was able to arise and carry said head off with him? (Not a complete spoiler, as this is the central driving plot of the original epic poem).

In short, I urge everyone who appreciates the fantasy and arthouse genre to see The Green Knight

Above all, I urge all of us to search for an analysis of the movie that will give us a greater appreciation of it. While many pieces of art embrace what appear to be bizarre and nonsensical (think Queen’s Bohemian Rhapsody), a proper walkthrough can make us fall in love with the unusual.

About the Author: Though no longer a resident of Lyme, Kevin knows he can never sever his roots to the tree of his identity. When not attending to his job in Boston, he is committed to ensuring a better grasp of current (and past) releases of cinema to his home community as he strives to leave his own mark in the same field that has always been his guide to understanding life. If you enjoy his published reviews here on LymeLine.com, follow him on his new website at ‘The City of Cinema and read more of his unique insights into entertainment.

The Movie Man: ‘Jingle Jangle, A Christmas Journey – Perhaps a ‘Cult Classic,’ But No Way a ‘True Classic’

Kevin Ganey is ‘The Movie Man.’

While Jingle Jangle A Christmas Journey provides spectacular visual effects, catchy songs, and lovable characters, I fear it will go down in film history as only a cult classic that is adequate at best.

The reason for this being just another Christmas film is the plot: Journey Jangle, granddaughter of legendary toymaker/inventor Jeronicus Jangle, seeks to restore faith in her grandfather, who has become disenchanted after his apprentice Gustafson had stolen his ideas decades earlier.

This is a recycled plot that has been used on a myriad of productions over the years. I could see each detail coming around its respective corner.

For the most part, the casting was great, except for one character: our antagonist, Gustafson, played by legendary comedian Keegan-Michael Key. Because Key has left such a wonderful impression as a goofy comedian, it was difficult for me to accept him portraying a driven villain.

While there are plenty of comedians who have triumphed in dramatic roles (think Robin Williams and Peter Sellers), I do not believe this is the role for which he will achieve that feat.

Don’t get me wrong: I enjoyed watching this flick, and I am sure that there are many who will want to screen it again each holiday season, but I have learned there is a clear difference between enjoying a movie, which is based on reaction, and praising it, which is rooted in artistic criticism.

I elaborated on this in one of my earlier reviews for Hubie Halloween.

Years from now, critics will not lump it together with other Christmas classics such as It’s a Wonderful Life, A Christmas Story, Elf, Home Alone, or even Die Hard.

So for those seeking simple entertainment, indulge … but for those seeking something bigger, look elsewhere!

About the Author: Though no longer a resident of Lyme, Kevin knows he can never sever his roots to the tree of his identity. When not attending to his job in Boston, he is committed to ensuring a better grasp of current (and past) releases of cinema to his home community as he strives to leave his own mark in the same field that has always been his guide to understanding life. If you enjoy his published reviews here on LymeLine.com, follow him on his new website at ‘The City of Cinema and read more of his unique insights into entertainment.