A Abominável Criatura

Okay this film cost me £2 in some second hand store but it was worth it just as a lesson to aspiring film makers everywhere not what to do when making a horror film. So although its completely lame we can judge it on its superb script with classic lines such as 'ITS A BAT' as a piece of black cloth moves across the screen. Or 'What did you see something Unnamable perhaps?, however nothing beats the quiet girls reply to why all the guys fancy her friend Wendy 'its her big tits isn't it' before she looks down sadly and says damn. Also featuring such 80's classic characters as sweater wearing jock guy and mysterious guy with dodgy english accent. Get a group of friends together and this film will make you laugh more than most comedies today, and then check out...The Unnamable Returns....

I have heard some people say that H.P. Lovecraft's works are unfilmable. I guess that I would say that they did a worthy job with "The Unnamable", but aside from the fact that another movie with a grotesque monster's property getting invaded by horny teens seems a little silly, the people here can't really act (well duh; these movies don't star Katharine Hepburn). Particularly laughable is the line "You're very brave." And if you remember the rules laid out in "Scream", you can guess which people survive here.

So, this is pretty much a way to pass time. For better efforts at filming Lovecraft stories, there's "Die Monster Die!" and "The Dunwich Horror".

Howard Philipps Lovecraft was a remarkable author, and it's often an acquired taste to enjoy many of his stories. It's my opinion that the duller the original Lovecraft story, the more entertaining the film, and vice versa.

This story is middle-of-the-road, and so is the film. It bears all the hallmarks of a standard 1980s horror film, but it has little allusions and touches that those who read Lovecraft would be familiar with would be entertained by. In-jokes, if you will.

The original story was relatively short, and expanding it to feature length probably required the mortising in of the standard horror elements found in 1980s type films. There have been some pretty good films that use these elements -- Pumpkinhead springs to mind -- that even if this film uses those elements, that shouldn't detract from the overall story.

Students from Miskatonic University pay a visit to an abandoned old house that, as legend has it, was once home to a creature so ugly that it was dubbed 'The Unnamable'. Surprise, surprise... the monster is still there, trapped by a magic spell cast by its father, and it's not a happy bunny!

After the success of Re-animator and From Beyond, H. P. Lovecraft was hot property. The Unnamable is based one of the horror author's short stories, which is padded out to feature length by lots of aimless wandering around the film's spooky house by the protagonists. The filler material is rather pedestrian, but director Jean-Paul Ouellette livens things up sporadically with some gnarly gore (best moments: a juicy torn throat, and a mangled body falling to the floor, brains spilling from its open cranium) and a spot of nudity (courtesy of Laura Albert, as freshman hottie Wendy), all guaranteed to keep the audience watching until the final reveal of the monster, which looks a lot better than I had expected given how long it had remained hidden: with vicious fangs, wings, and horns, and a natty pair of cloven Ugg boots for good measure, it's a creepy looking creature that is worth the wait.

The fun ending sees bookish student Randolph Carter (Mark Kinsey Stephenson) reading from the Necronomicon (which just happens to be lying around the house) to invoke tree spirits that defeat the monster, allowing fellow students Howard Damon (Charles Klausmeyer) and Tanya Heller (Alexandra Durrell) to escape from the house.

H.P Lovercraft's short story 'The Unnamable' is brought to the screen in a low-rent looking, small-scale production by first time writer/director Jean-Paul Ouellette. Maybe not as commanding as the likes of 'Re-Animator', 'From Beyond' and even 'Necronomicon', but Ouellette manages to invoke a twisted Gothic monster tale filled with menacing atmosphere and dripping with modest blood and gore. The latter actually surprised me how competently it was achieved, and the demon design is a horrifically creative design. Special effects/make-up artists R. Christopher Biggs and Camille Calvet did an excellent job, and I have healthy resume to back up their professional work.

Other than being quite graphic and stemming with eerily howling sound effects, the whole supernatural set-up for the story is quite conventionally light (little in the way of exploring the back-history and the climax is quite sudden) with the usual shocks and developments within an secluded rundown house that breathes spookiness. Really the premise's outline seemed more interesting than what Ouellette's execution could make of it, although the 90 minutes do breeze by with compact editing and the creaky roughness gives it some grit. Ouellette's systematic script is dramatically thin and strictly serious, save some dark humorous spots.

Legend has it that Joshua Winthrop kept in his family's house locked away his demon child that he and his wife were so ashamed about that called it 'the Unnamable'. It trying to keep it hidden, the creature turns on him and brutally murders him. Now in the present, students at the nearby Miskatonic College spend a night in the supposedly haunted house, which there only chance of survival rests on the open-mind of Randolph Carter.

Mark Kinsey Stephenson installs a brash, self-assured attitude to the Randolph Carter character, even though his screen time is limited it's always felt. While surrounding him are appealing turns by Charles Klausmeyer, Alexandra Durrell and Laura Albert.

David Bergeaud's racy, unhinged score is a shamble. One second it's nervously ominous then it changes to something playfully cute. Obviously these sudden shifts in the score were to match up to the moods of the characters/situation (from gruesome activities, suspense driven or humorous inclusion), but more often it felt forced upon. Ouellette's tightly staged handling relies on dim lighting with blue filtering to etch out an imposingly forlorn house and surroundings (like the graveyard) thanks to art director Ann Job. The demon is mainly kept hidden with sweeping POV shots, silhouette outlining, and glimpses of legs until we see it in full glory towards the end… but what stays with you is constant high-pitch screaming it unleashes.

Nothing formidable, but acceptable 80s monster gruel.