Horror in the 90s Mirror Mirror

Mirror Mirror (1993) 

Directed by Marina Sargenti 

Written by Annette Cascone, Gina Cascone, Marina Sargenti 

Starring Rainbow Harvest, Karen Black, Yvonne De Carlo 

Release Date August 31st, 1990 

Box Office Unknown 

There were a mere 6 movies directed by female directors in 1990. One of those films is this oddball horror movie about a haunted Mirror. It was Sargenti's first and only feature film credit. Soon after she moved to television features and picked up TV odds and ends until seeming to leave the business in 1997, at least according to IMDB. Regardless, she's notable for having been one of the few women to get the chance to direct a feature length horror film at a time when women were struggling to find a place behind the camera. 

It's a shame the movie isn't more memorable. Mirror Mirror is a shoddy, slapdash and odd film. The plot centers on a haunted mirror which uses some kind of demon magic to invade the mind of people who own it and causing them to kill. The demonic power presents itself as being on the side of the owner, allowing the owner to believe they are wielding some kind of magic power. Then, the killing spree begins and grows out of control until someone finally puts a black curtain over the mirror. Yeah, that's literally how this demon is defeated, that and... a good character making a wish? Maybe? It's a tad bit unclear. 

Mirror Mirror features a notable cast of horror convention staples including Karen Black as the mother of our main character, Megan, played by Rainbow Harvest. Alongside Karen Black we have Yvonne DeCarlo of The Munsters-fame. DeCarlo plays an antiques dealer who purchased the mirror only for the mirror to refuse to leave the home. She also takes a bunch of books written by the previous owner of the mirror. DeCarlo acts as a plot convenience/contrivance, someone to do the legwork of researching the mirror's evil for us in the audience and then dying tragically when she was needed most. 

Another notable horror staple is character actor William Sanderson who pops up in the role of a pet undertaker. The mirror happens to hate dogs and when the mirror brutally murders Karen Black's dog, Sanderson's uber-creep undertaker shows up and the two wind up hitting it off. She invites this man to dinner and things don't go well as Megan channels the demonic mirror powers to make Sanderson hallucinate that his food is full of creepy crawlies. He leaves and we never see him again. 

The co-lead of Mirror Mirror, alongside the memorably named Rainbow Harvest, is Kristen Dattilo as Nikki, a fellow outcast who serves as an early model of the role played by Amanda Seyfried in Jennifer's Body. Each film pits female friends against each other, a common theme in many genres when you think about it. At least they aren't arguing about boys, not the same boy anyway, but yeah, movies tend to want exploit female friendships for drama in a fashion that they tend not do in stories about male friendships.

Find my full length review of Mirror Mirror at Horror.Media 

Movie Review House of 1000 Corpses

House of 1000 Corpses (2003) 

Directed by Rob Zombie 

Written by Rob Zombie 

Starring Sid Haig, Bill Moseley, Sheri Moon Zombie, Karen Black 

Release Date April 11th, 2003

Published April 10th, 2003

Horror fans have been buzzing for three years about rocker Rob Zombie's first foray into feature films, House of 1,000 Corpses. Based on Zombie's unique music videos and avowed love of classic horror films, fans of Fangoria have been foaming at the mouth in anticipation of what Zombie could produce. Now after three years of studio leapfrogging and MPAA kowtowing in an attempt to avoid the kiss of box office death NC 17 rating, House Of 1,000 Corpses is finally receiving a limited theatrical run. Was it worth the wait?

House begins as the story of four college kids in the late 1970's on the road writing a little travelog about kitschy roadside attractions. It stars a couple of unknowns alongside a couple of where-have-I-seen-that-guy-befores who make the mistake of picking up a hitchhiker on a dark rainy night. The hitchhiker is named Baby, a sexy looking blonde with a laugh like a kitten in a blender and personality to match. A flat tire leads the kids to Baby's house where her brother will supposedly use his tow truck to help them get it fixed. Unfortunately, Baby's family is completely insane and demonically obsessed with a dead serial killer known as Dr. Satan.

As the kids wait for the car to be fixed on the night before Halloween, the family, led by mom (horror staple Karen Black) and Otis, the family's top psycho, prepare to raise Dr. Satan from the grave.

Zombie brings his trademark visual style from his music videos and paints a unique horror canvas with poorly focused cameras and the occasional intercutting of black and white scenes from classic horror films so numerous you can't keep up with them. Zombie, long a fan of horror classics from the black and white era, seems to want to recreate the aura of those films but can't resist falling back on the horror cliches of the more modern era the 1970's. Indeed House Of 1,000 Corpses has much more in common with Texas Chainsaw Massacre than any of the black and white movies Zombie claims as inspiration.

There is nothing wrong with an homage to 70's horror movies but House Of 1,000 Corpses seems more rip-off than homage. Outside of Zombie's visuals, everything in the film seems a direct lift from Texas Chainsaw Massacre.

The film's most fatal flaw however is its lack of interesting characters. The characters we are supposed to sympathize with are one-note characters that are either whiny or obnoxious. The villains are over the top obnoxious and, rather than being frightening, they are simply annoying. Zombies fail to create a rooting interest on either the side of good or evil. A good horror film has to have a character to cheer for whether it's Jamie Lee Curtis in Halloween or Freddy in Nightmare on Elm Street. House of 1,000 Corpses never provides that charismatic character that holds your interest beginning to end.

The lack of a rooting interest leaves the film to rely solely on the director’s skill with visuals and set pieces. As successful as Rob Zombie is with those elements, it's not enough to hold an audience's interest.