Tag Archive: creepy little girls


Review by C.J. Bunce

One of the failings of many creators for kids is talking down to them.  If you treat children from the very beginning like adults, they will step up to the task and embrace acting like adults.  Kids know when adults are speaking down to them.  They also will be excited when you give them the straight dope.  So if you’re creating anything for an audience that includes kids, whether they are seven to seventeen, don’t hold too much back.  And that applies double for relationships–kids are smarter than you think and they listen to everything and absorb everything.  One of the best parts of Troop Zero is that you can’t tell if its a coming of age movie for adults or kids.  And that’s a great thing.

Troop Zero is a new Amazon Studios direct-to-streaming release, and a great movie to watch while sitting at home with your family this weekend.  We love coming of age movies (scroll through several we’ve discussed over the decade here at borg), and Troop Zero easily makes our top 20.  This is the more nostalgic, sweet, genuine brand of coming of age film (the best kind), part The Bad News Bears, part Paper Moon, and it’s obviously a little bit Moonrise Kingdom and maybe even enters Shirley Temple territory like in The Little Princess.  It also ties into one of our favorite NASA accomplishments, the Voyager space probes and golden records prepared by Carl Sagan with voices and music from Earth (also add the PBS documentary The Farthest–Voyager in Space to your must-watch list, reviewed here).

The movie stars the then-12-year-old actress McKenna Grace, who performs like someone with 20 years of experience.  This girl has done everything, from playing young Sabrina in Chilling Adventures of Sabrina, to young Captain Marvel in last year’s hit film, young Tonya Harding in I, Tonya, and she’s the star of the coming summer release (we hope), Ghostbusters: Afterlife.  Plus Independence Day: Resurgence, Ready Player One, and a regular on The Haunting of Hill House (the list goes on!).  In Troop Zero she plays Christmas Flint, a girl with that same awkward but adorable appeal as Tatum O’Neal in her Oscar-winning performance in Paper Moon.  Christmas has the reputation at school for still wetting the bed, she wears red galoshes so no one notices one leg is longer than the other, and no matter how much bad is thrown at her she responds with this incredible positivity.  She also loves space, and thinks her dead mother is looking back at her from the stars.  When she learns a member of NASA is in town to select a girl to voice the greeting on the Voyager space record, she assembles a ragtag team of girls (and one boy) to join the local scouts, and earn the minimum merit badge each to qualify to go to Jamboree where the troop with the best performance routine will have their voices recorded.

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Review by C.J. Bunce

Plumes are cool.  I wear a plume now.

This week the Doctor and friends turn up at the very event that was the real-life origin point of Doctor Who, the series, and in fact all of science fiction: Lord Byron, Percy Bysshe Shelley and Mary Wollstonecraft Shelley’s summer at the retreat at Villa Diodati near Lake Geneva in Switzerland in 1816.  It was the historic “year without a summer,” believed the result of volcanic ash in the atmosphere.  More importantly for the future of science and technology and science fiction, it was the convergence of celebrity that resulted in Mary Shelley’s spark to write her novel Frankenstein, the first science fiction novel and–notable for fans of all things borg–the first borg novel.

Only this is Doctor Who, and so something is different, as one of the famed guests of the villa is missing.  In its 56 years some of Doctor Who’s greatest episodes have featured a re-look at historical places and events, and the fantastic new episode, “The Haunting of Villa Diodati” may top them all.  The events of 1816 are well documented and writer Maxine Alderton (The Worst Witch, Emmerdale) used them to create the perfect blending of Doctor Who and history.  Directed by Emma Sullivan, Alderton’s story is expertly designed to weave together even the obscure historical facts and figures with the fantastical, while foreshadowing the focus of the season’s remaining episodes (find a peek at that below).  Just as the story of the creation of the first science fiction story takes center stage (also one of the early Gothic horror tales), so does the world inside Shelley’s novel peer into the world of the Doctor.

Save the poet, save the universe.

In a word, “The Haunting of Villa Diodati” is perfection, as the seed of all science fiction meets its latest incarnation both from within the universe of Doctor Who and viewing Doctor Who from the outside as a work of science fiction itself–delivering a perfect threat to a single point in time that, if altered, changes everything thereafter and could obliterate the world as the Doctor–and the viewer–knows it.  Plus… a haunted house, ghosts, and a decision that could throw the future into chaos?

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Review by C.J. Bunce

How often does a television series stay powerfully compelling for the entirety of its run?  Most series, especially science fiction series, have a freshman and sophomore season full of bad episodes and clunky storylines.  With a fourth season now one for the books, Amazon Studios’ The Man in the High Castle is the exception, and nothing short of cinema magic that the final season of the series didn’t miss a beat in its final ten episodes.  The series has been a slow burn from the first season, but if you enjoy the idea of an alternate universe that doubles as an alternate history story–and nobody made them better than author Philip K. Dick–then this is the series for you, waiting for you to stream its 40 episodes right now.  It all began with a first-rate pilot (first previewed here at borg) set in a gut-wrenching world where the Axis beat the Allies in World War II, created five years ago for Amazon’s first run at a series format.  From the meticulously re-created sets, buildings, landscapes, costumes, props, and vehicles, to a script that may very well reflect the smartest and most tense science fiction ever to hit television sets, The Man in the High Castle proves Amazon Studios can match (and beat) the quality of programming of any of its competitors.

The themes are unfortunately current, grand and weighty like the best science fiction should be, and Santayana’s warning was probably never better illustrated in fiction form, asking the question: Could Nazi leadership of the homegrown American variety be worse than a threat from foreign invaders?  The show also explores other big ideas, like the idea that you may not be the very best possible version of yourself (and what you could do about it).  Most series are top-heavy, relying too much on the lead characters to drive the story.  The writers of The Man in the High Castle took the time to completely flesh out dozens of key supporting characters, each one critical to the story, and all an example of world-building detail that every writer should take notes on.  Every thread they created gets nicely tied up by the final episode.  The very best, most complex and creative character arcs on any series this decade happened here.  And the series’ climactic scene is simply goosebump-inducing.  The pool of candidates for anyone’s best TV actor and actress this year?  They should begin with this series.

Back again is Alexa Davalos as the world-bending, judo teacher-turned resistance strategist.  She was joined by last year’s new suave, rogue soldier, played by Jason O’Mara.  They have the knowledge to potentially save their world and infinite others, but how do they decide what is the right way to do it? Leading the bad guys on the American front again is Rufus Sewell′s Reichsmarshall John Smith, whose performance as the rising Nazi leader is so convincing viewers will never see what’s coming next, and his wife Helen, played by Chelah Horsdal, gets to step into the spotlight in nerve-wracking ways this season.  Joel de la Fuerte, as Japan’s Emperor’s leader in San Francisco, is so versatile he should be the most sought-after actor on the planet.  This year they are joined by new good guys played by Frances Turner and Clé Bennett, who bring a welcome, late-breaking twist to the outcome of the world, plus the return of Quinn Lord as the alt world’s Thomas Smith.  Even the kids playing the daughters–Genea Charpentier and Gracyn Shinyei–are scary good (meriting inclusion on our ever-growing horror film “creepy little girls” list).

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Review by C.J. Bunce

Your next creepy movie for fall is waiting for you now on Netflix.  It’s director Stacie Passon′s 2018 adaptation of award-winning author Shirley Jackson′s 1962 mystery thriller, We Have Always Lived in the Castle And although it is not technically a story about one of our favorite horror tropes, creepy little girls, you will meet two very creepy young adult sisters who live alone on the hill at the edge of town with a secret that may not be all that secret.  Taissa Farmiga (The Nun, American Horror Story) stars as Mary Catherine Blackwood, called Merricat, the stranger and younger of two siblings, with Alexandra Daddario (White Collar, True Detective) as the older sister, Constance.  No doubt inspired by the acquittal in the murder trial of Lizzie Borden, the movie (as with the original novel) takes places six years after the poisonings of the sisters’ parents, with Constance as the sole suspect.  Who really poisoned them?

Crispin Glover (Back to the Future, Alice in Wonderland) delivers possibly his finest performance as Uncle Julian.  Present at the deaths of his brother and sister-in-law, Uncle Julian was also poisoned, but survived with an addled mind and failing body.  Constance seems to have never recovered from the accusations, and the townspeople certainly will not let the family forget.  Constance has a smile fixed as she goes about surviving each day, a PTSD victim ready to snap at any time.  Merricat is left to venture out once a week to get groceries and get lambasted by all those that looked down upon the family for their wealth and scandal.  Yet Merricat is happy with the status quo, burying her father’s possessions to ward off evil spirits and bad fortune.  As she tells us as narrator, Constance is the most precious person to her in the world.

But the sisters’ world comes crashing down as a cousin, played by Sebastian Stan (Captain America: Winter Soldier), appears in a sports car and begins taking over the house.  Worse for Merricat, Constance seems to be falling in love with him, and the new couple begins to make plans for the future.  In a world of oddities out of Great Expectations, What Ever Happened to Baby Jane? or Hush… Hush, Sweet Charlotte, can anyone in the house find normalcy or have any hope of getting their lives back?

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Review by C.J. Bunce

In her most prolific year–at age 13–actress Jodie Foster made five movies, including two big hits, the Disney comedy Freaky Friday, and Martin Scorcese’s Taxi Driver.  Along with two forgotten films, Alan Parker’s kid musical Bugsy Malone and the Richard Harris drama Echoes of a Summer, the fifth Foster film from 1976 debuted.  Sometimes in horror, a little creepy goes a long way.  And it’s a good thing.  That’s the case with Hungarian director Nicholas Gessner′s The Little Girl Who Lives Down the Lane.  I was about Foster’s age when I first saw this movie and the movie holds its own 43 years later–that same sense of confusion, not knowing where the story was going–that dread–coupled with a moody seaside New England setting on Halloween nets that feeling that autumn has at last arrived and it’s time to prepare again for the movies of the season.

As with the similarly paced and similarly brilliant The Watcher in the Woods (released four years later), Gessner’s film deftly juxtaposes sinister secrets against a pastoral town we all think we’d like to visit.  Foster is Rynn Jacobs, a 13-year-old girl who is living alone in Wells Harbor, Maine, when we meet her.  She dodges a 30-something pervert played by Martin Sheen, who keeps coming by her house, well aware she’s usually home alone.  His mother, played by Alexis Smith (The Age of Innocence, Dallas, The Woman in White), is a hateful woman who claims to be leasing the home to Rynn’s father, and enters the house without warning, moving furniture and Rynn’s belongings and riling young Rynn.  The woman is a snoop, and she seems to make more than an ordinary effort to try to meet the man of the house.  Rynn’s story of being alone changes a bit depending on who stops by, sometimes her father is upstairs asleep, sometimes he’s locked himself in his den working, other times he’s meeting with his publisher in New York.  Rynn befriends a local police officer along the way, who is also suspicious of the local pervert prowling around.  She’s kept up some kind of secret for at least three months now, but it’s becoming clear her world is about to spiral in on her.

Where are her parents?  She only divulges the truth when she meets a boy who rides by on a bicycle.  Played by Scott Jacoby (Return to Horror High, To Die For) Mario is a slightly older boy, ostracized for his limp, and a different kind of loner than Rynn.  The dread looms heavy.  What does Rynn have in store for another person wandering into her life?

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Review by C.J. Bunce

Steeped in the Dungeons & Dragons foundations of R.A. Salvatore′s new novel, the adventure becomes so much a journey of a thousand skirmishes inside the stories of Waterdeep and the Forgotten Realms that the biggest surprise is no D&D branding graces the cover.  Although it’s accessible for anyone without reference to Timeless (last year’s first book in the series), Boundless is the next chapter in Salvatore’s trilogy of novels following his well-known hero of the genre Drizzt Do’Urden.  Boundless has everything you’d expect from the character and his world, from demogorgons to psionics, armored dwarves to unicorns–and humans.  It’s now available for pre-order here at Amazon and arriving in bookstores September 10.

Boundless′s breakneck pace is why fans of Salvatore will find themselves jumping in and holding on tight for the entire novel.  The only time it comes up for air is in a series of diary-like entries by Drizzt that begin the novel’s four sections.  As it turns out, the leads of the story aren’t really Drizzt himself but his father, the resurrected weapon master Zaknafein, and the wise mercenary Jarlaxle, both swashbuckling schemers with skills and political connections–characters that make you want to skip over the subplots to see what they do next.  Despite a few subordinate heroes, like Arathis Hune, the giant Wulfgar, the psionist Kimmuriel, and the dwarf Thibbledorf Pwent, shifting the stakes from the shadows are the story’s female characters, with the priestess Dab-nay and the elf Dahlia as key players.

All the good fantasy tropes are here, a very Tolkien journey that may have readers plugging actors from Peter Jackson’s The Lord of the Rings movies into key roles, with the kind of twisty but grounded machinations you’d find in The Godfather, Part II and Amadeus, and dramatic evil queen-types as in The Huntsman.  Readers will find as much of the more comical-aside conversations of The Princess Bride school here as dead-serious high fantasy despite plenty of darkness.  The novel provides a favorable dice role for its heroes more often than not, but despite seemingly endless triumphs and last-second getaways by a half a dozen heroes, Salvatore leaves room for some real jeopardy for its characters, including serious carnage before book’s end.

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Breslin Haunter

Review by Elizabeth C. Bunce

It’s no secret I’m a big fan of ghost stories, and I’ve lamented before how hard they are to find among all the slasher horror gore fest flicks that pass for scary fare these days.  So I’m always excited to stumble across a new one on film.  One such recent discovery is Vincenzo Natali’s quiet Canadian production Haunter, starring Abigail Breslin (Maggie, Ender’s Game, Signs), Peter Outerbridge (Orphan Black, Nikita), Michelle Nolden (RED, Lost Girl, Everwood, Nero Wolfe), and veteran TV fixture Stephen McHattie (Adam-12, Kojak, The Twilight Zone, The X-Files, Quantum Leap, Deep Space Nine, Enterprise, Haven, Watchmen, 300, A History of Violence).

It’s 1984, and Lisa Johnson (Breslin) feels stuck in a rut:  Every day is just like the next.  Just like the next, and she’s the only one in her family of four who’s noticed.  The same Walkie-Talkie wakeup call from little brother Robbie (Peter DaCunha), the same pancake breakfast, the same friendly quarrel with Mom (Nolden) over the same load of laundry.  (“I did the laundry yesterday.  You just don’t remember that I did.”)  Wearily she trudges though clarinet practice, Dad fixing the car in the garage, a conversation about a birthday celebration that never comes, and the same episode of Murder She Wrote.  Until one morning, she’s startled Awake by a creepy noise in the laundry room, and discovers that her house, and her family, are at the heart of a long history of dark secrets.  And another girl—another family—needs Lisa’s help, if she’s ever to escape the time loop.

Haunter-Abigail-Breslin

Many parts of Haunter will feel familiar, maybe even derivative—but that’s OK.  In some parts it feels like a remake of The Others, and there are echoes of The Ring and every knockoff of Groundhog Day you’ve ever seen.  (See one of our early takes on time loops at borg.com here).  But it works, and it works well.  Lisa’s world is tightly focused and claustrophobic, and her navigation of several parallel timestreams is seamless and gripping.  Director Natali, known for his work on projects including Orphan Black, The Returned, Hannibal, and The Strain, has richly layered the film with finely wrought symbolism, from the leitmotifs of Prokofiev’s “Peter and the Wolf” playing throughout, to Lisa’s Souxie and the Banshees concert T, to the dark fairytale iconography Lisa must wade through to learn the truth.

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Crimson-Peak-Ghost-Pianist

Ghosts are real. That much I know.

Back in February we previewed the first look at Guillermo del Toro’s next reported masterpiece, a Victorian gothic romance with ghosts called Crimson Peak.  It will finally hit theaters next week and today we have even more previews and cool featurettes from this nicely timed Halloween horror flick.

In Crimson Peak, Gothic haunts like Rebecca and Jane Eyre, meet Watcher in the Woods, The Others, Psycho, and Skeleton Key, with director del Toro amping up the gore and violence.  We don’t often see fantasy horror releases but you can be sure del Toro is a master of the genre.  And it adds another movie to that sub-genre of horror we keep talking about featuring creepy little girls.

Crimson Peak house

Not for the faint of heart, check out this trailer and featurettes for Crimson Peak, after the break:

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Whats he looking at The Whispers

Review by C.J. Bunce

The tropes of Steven Spielberg run rampant in the new TV series The Whispers.  Its pilot episode premiered Monday night on ABC and it teases enough of those things we love about Spielberg movies–it’s practically an homage to the producer of the series–to prompt us to return for more next week.  Network science fiction as a whole tends to be full of more shock and awe than the sci-fi of cable TV (compare Lost and Heroes to shows that delved deeper into the human condition like Battlestar Galactica, Doctor Who, or The Dead Zone), so the story will need to do more than just tease what’s really going on for us to not get bored and simply move along.

To begin with, The Whispers has that “creepy little girl” thing going that we’ve discussed plenty here at borg.com.  It’s hard to miss the throwbacks to the original Poltergeist (Spielberg wrote the screenplay).  Only this time we have more than one little girl talking to something no one else can see.  We don’t really know yet whether this is a purely sci-fi show or entirely horror–or a bit of both.

The show follows Claire Bennigan, played by Lily Rabe, a federal agent whose husband died three months prior to the events in the show’s first episode.  He’s also the pilot missing from a jet presumed lost in the Arctic, a jet just discovered far away in the African desert.  Will the relationship between Claire and her lost husband (Milo Ventimiglia) form the foundation of a relationship as in Spielberg’s supernatural romance Always?

The Whispers

An imaginary friend named Drill is speaking to little kids in a way only children can hear–and Drill’s voice always come from the lights (even we don’t hear this voice so we don’t know whether it’s real or not).  But these lights are up to something, like the energy from the Lost Ark from Spielberg’s Raiders of the Lost Ark.  It’s not just the idea that harkens back to Raiders–as the power of the light swishes about it can’t be long before it starts zapping those who stand by who fail top keep their eyes closed.

We can see E.T., the Extra-Terrestrial imagery, like the feds in hazard gear closing in on Elliott’s house.  Here, government workers close in on a giant structure that has somehow reached up and grabbed a jet from far away.  E.T.’s mom, played by Dee Wallace, even makes a brief appearance in the pilot for The Whispers.

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Bates Motel

That’s right, Halloween is almost here.  This year we’ve been able to obtain an interview with one of the best horror writers around.  Who will it be?  Check back here on Halloween for a special borg.com interview.

For many, this week means tracking down spooky shows on Netflix, cable, or in the theaters.  Back in 2011 the four borg.com writers posted each of their top favorite Halloween flicks.  Since 2011 new films that fit the genre continue to be made, like The Woman in Black reviewed here last year, but there was also a few to skip, like Johnny Depp in Dark Shadows and John Cusack in The RavenThis year we were impressed by the totally fun and totally watchable Abraham Lincoln, Vampire Hunter, and the over-the-top but fun Hansel & Gretel: Witch Hunters.  There are plenty of opportunities to get your fix of dark, spooky, creepy, or just plain scary movies.

ALVH-217 - Abraham Lincoln (Benjamin Walker) and his vampire-battling mentor Henry Sturgis (Dominic Cooper) plan their next move during a fateful battle with the undead.

One film available on Netflix we haven’t reviewed yet here at borg.com is 2009’s Orphan, which should appeal to fans of The Others and Skeleton KeyOrphan stars Bates Motel’s Vera Farmiga and Skeleton Key’s Peter Sarsgaard as a couple adopting a third child into their family, played by the brilliant young actress Isabelle Furhman.  It also features Warehouse 13’s CCH Pounder and Genelle Williams–both as nuns.  Orphan is excellently creepy and an all-around good thriller worth checking out.  And speaking of Vera Farmiga, if you haven’t been watching Bates Motel, you should.  It’s a great creepy spin-off of Hitchcock’s Psycho, and Season 1 is available now on DVD and Blu-ray from Amazon.com.

Orphan movie - creepy little girl

Here is the link to our Halloween movie series from 2011 where you can view all of our recommendations.  Some of the staples of Halloween horror did not make our lists, like Friday the 13th, Halloween, Saw, Scream, The Omen, Rosemary’s Baby, Poltergeist, Nightmare on Elm Street, or Amityville Horror.   Jaws got our joint highest ranking, making three of our lists, and The Shining, The Exorcist, The Exorcist 3, Watcher in the Woods, The Ring, and Paranormal Activity seem to rise above the rest, showing up on two lists.  Seaside locales were the favorite location for scares, with Jaws, Rebecca, The Birds, The Ring, The Fog (both the original and remake) all taking place there, and creepy little girls are the favorite subject of–count ‘em–NINE of our haunts (The Ring, The Exorcist, Let Me In, Paranormal Activity 3, Watcher in the Woods, The Sixth Sense, The Shining, Turn of the Screw, and The Others). And we can now add Orphan and The Woman in Black to that creepy assembly.  (We Are What We Are was due out this year–another creepy little girl story, but it’s only been released in the UK so far).  For us the supernatural won out over monsters, saws and axes.  Four movies were by John Carpenter, three by Alfred Hitchcock.  The oldest movie was Rebecca from 1940, the newest came out in 2011, Paranormal Activity 3And look, we’ve got another one of those available now, too.

Happy Halloween watching, and don’t forget to come back to see what we have in store Thursday!

C.J. Bunce
Editor
borg.com