The Unnamable

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.

This movie is scary at sometimes, but at other times it's gory. I just love the gore murders! They're pretty cool! You get a ripped-out throat, decapitated body, broken neck and more! See this film if you're looking for some gore!

Weak adaption turns the classic Lovecraft story into another run of the mill teenagers are in danger flick. It also suffers from a poor creature effects and a laughable ending. Film has a group of college students going to a mansion that local legend has it is haunted by an unnameable creature lurking in the attic. Unrated; Graphic Violence and Nudity.

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.

I've often wondered why some authors like to primarily identify themselves with initials. In the case of H. P. Lovecraft, perhaps he foresaw how the future would be filled with substandard filmings of his writings, and it would be a way to distance himself from them! For a real cheapie, I guess it isn't bad; it's cheap, though less so than you'd think, and the monster design is passable. There are also some acceptable flesh-rippings and a decent amount of blood, at least in the unrated cut (the version I saw.) What it's really missing are characters we can bother to care about, and a tighter story with much more happening (including more explanation); don't be surprised if you find yourself picking up a book while you're watching it. I guess it must have found an audience, seeing how there was a sequel made several years later, but don't expect to read a user comment from me about it anytime in the future!