Guillermo Del Toro is as much a big kid playing with toys as he is a director, but with each film it feels like he’s inviting the viewer to play with him. Del Toro’s joyful enthusiasm shines through his lightest films, while his grimmest show his gifts as one of the best horror filmmakers working today, someone who plays knowingly with the history of the genre while still making it into something new.
Jean Cocteau would be delighted by director Ulli Lommel’s use of the mirror and reflection in The Boogey Man (1980). While John Carpenter’s Halloween (1978) isThe Boogey Man’s most recognized influence,Lommel also seems to draw from Cocteau’s use of the mirror from such classics as Orphée (1950), where mirrors serve as doorways for Death to walk through. Similarly, Lommel’s mirror houses a vengeful spirit and, when this mirror is broken, the spirit is released and begins wreaking havoc. The mirror is as central to Lommel’s plot as it is to all of Cocteau’s work. It is because of this incredible presence of mirrors and their relationship to Death that we cannot overlook or deny Jean Cocteau’s role in creating Lommel’s underappreciated horror masterpiece – The Boogey Man.
Bill Murray. Billy, the Murricane. Bill fucking Murray. The man is a bona fide institution and a hero to gadfly layabouts, eccentric humorists and mayhem enthusiasts alike. We would follow him to the ends of the earth (even up to Canada for TIFF’s Bill Murray Day), not because he actually has the answers but because he’s the one having the most fun without them. With nearly forty years of filmography trailing behind him (discounting the 1973 short “The Hat Act”), Murray has a plethora of roles (and we don’t use the “p” word lightly) with performances that stand the test of time to varying heights.