LIGHTHOUSE
(USA: Dead of Night)
Aspect ratio: 1.85:1
Sound format: Dolby Digital
Inmates and officials from a sunken prison ship become stranded on a storm-lashed lighthouse-island 300 miles from the UK coastline, along with a monstrous psychopath (Christopher Adamson) who stalks and kills them, one by one.
Writer-director Simon Hunter's powerhouse shocker - an award winner at movie festivals in Luxembourg and Rome - combines the setting of TOWER OF EVIL (1972) with the multiplex-friendly aesthetic of Wes Craven's SCREAM (1996), and improves on its source material in every significant way. James Purefoy (RESIDENT EVIL) and Rachel Shelley (CRUISE OF THE GODS) lead a small but talented cast of newcomers and veterans (including Paul Brooke and Don Warrington) as a motley bunch of hot-heads and cowards, forced to band together in a desperate attempt to survive the killer's rampage.
The film's narrative is linked by a series of Hitchcockian set-pieces (a potential victim cowering in a toilet stall as the killer lurks outside; a terrified character trapped in a boat with a two-way radio which could betray his presence to the prowling maniac at any moment; and two prisoners chained together at the wrist who are forced to make a terrible decision during an unexpected encounter with the bloodthirsty killer), culminating in a terrific climax at the top of the lighthouse, where Good and Evil collide in a welter of stuntwork and visual effects. Hunter emphasizes suspense and atmosphere over violence, and his clever script maintains an impressive degree of logic, isolating potential victims through careful calculation rather than narrative contrivance. Lovely, evocative music score by Debbie Wiseman, too.
Incredibly, despite being co-financed by BSkyB and the Arts Council of England, and despite a warm reception at various festival screenings, LIGHTHOUSE remained on the shelf for three years before creeping into UK cinemas to lukewarm reviews and poor business. It fared little better in the US, where the movie played briefly in theaters under a new title (DEAD OF NIGHT) before being consigned to video hell. It's commercial history notwithstanding, this is a small classic, ripe for rediscovery.
(USA: Dead of Night)
Aspect ratio: 1.85:1
Sound format: Dolby Digital
Inmates and officials from a sunken prison ship become stranded on a storm-lashed lighthouse-island 300 miles from the UK coastline, along with a monstrous psychopath (Christopher Adamson) who stalks and kills them, one by one.
Writer-director Simon Hunter's powerhouse shocker - an award winner at movie festivals in Luxembourg and Rome - combines the setting of TOWER OF EVIL (1972) with the multiplex-friendly aesthetic of Wes Craven's SCREAM (1996), and improves on its source material in every significant way. James Purefoy (RESIDENT EVIL) and Rachel Shelley (CRUISE OF THE GODS) lead a small but talented cast of newcomers and veterans (including Paul Brooke and Don Warrington) as a motley bunch of hot-heads and cowards, forced to band together in a desperate attempt to survive the killer's rampage.
The film's narrative is linked by a series of Hitchcockian set-pieces (a potential victim cowering in a toilet stall as the killer lurks outside; a terrified character trapped in a boat with a two-way radio which could betray his presence to the prowling maniac at any moment; and two prisoners chained together at the wrist who are forced to make a terrible decision during an unexpected encounter with the bloodthirsty killer), culminating in a terrific climax at the top of the lighthouse, where Good and Evil collide in a welter of stuntwork and visual effects. Hunter emphasizes suspense and atmosphere over violence, and his clever script maintains an impressive degree of logic, isolating potential victims through careful calculation rather than narrative contrivance. Lovely, evocative music score by Debbie Wiseman, too.
Incredibly, despite being co-financed by BSkyB and the Arts Council of England, and despite a warm reception at various festival screenings, LIGHTHOUSE remained on the shelf for three years before creeping into UK cinemas to lukewarm reviews and poor business. It fared little better in the US, where the movie played briefly in theaters under a new title (DEAD OF NIGHT) before being consigned to video hell. It's commercial history notwithstanding, this is a small classic, ripe for rediscovery.