I saw Joshua Kennedy's House of the Gorgon...

There are Hollywood directors who aspire to recapture a distinct, old-school flavor in their endeavors, but somehow fall short in the process: perhaps because as much as they wish to recapture the past, their egos dare to redefine it. 

With Joshua Kennedy, there is no such threat, for the humble but commanding writer/director/producer continues to hit the mark with each homage he spins. 

Kennedy's latest accomplishment is another tribute to Hammer's "The Gorgon" (his favorite film), entitled "House of the Gorgon". The filmmaker's first "Gorgon" homage was "The Night of Medusa" (see May '16 post); prior to such, he dispatched the succulent, Hammer salute, "Dracula: A.D. 2015" (see Oct '15 post). "House of the Gorgon" tells the terrifying, turn-to-stone tale of a young woman haunted by sinister, spectral sisters with a legendary link, thanks to her spouse's supernatural abetting.

Even beyond its bewitching premise, "House of the Gorgon" is notable for including such Hammer headliners as Christopher Neame, as Father Llewellyn; Caroline Munro, as Baroness Bartov; Martine Bestwick, as Euryale; and Veronica Carlson, as Anna Banning. That these attractive, talented stars have been teamed so many years after Hammer's heyday is astounding in its own right. To see them again at the top of their game (never once missing a beat) is a full-fledged, historic treat. 

Accompanying the veteran ensemble is Georgina Dugdale, as Isobel Banning and Jamie Trevino, as Christine, with Kennedy as demented Dr. Julian Pritchard; Gus Kennedy as brassy Bailey; Tom Pearson as haughty Hans; and Marco Munoz as kindhearted Karl (along with a nifty cameo by famed Femforce writer, Mark Holmes). For the Kennedys and Munoz, this marks a "Theseus and the Minotaur" reunion, which Gooey Film followers will appreciate.

"House of the Gorgon" also benefits from Kennedy's inspired direction, which flows in the sumptuous style of Terence Fisher. The skillful execution ensures that the story stays doleful, eerie and refined, as any proper Hammer salute should.  

To supplement the latter, "House of the Gorgon" features awesome, period-piece art direction by Lauro S. Hinojoso; fantastic, Freddy Francis-tailored cinematography by Martin Torres; luscious lighting by Rosa Cano; and a brooding, Bernard-esque score by Reber Clark. These important additives prove cozy yet edgy, keeping the film's aesthetic and emotional aspects high, no matter what the scene. (For all intents and purposes, "House of the Gorgon" looks as though it was made in the late '60s/early '70s: precisely the point. The result may, in fact, be Kennedy's most polished production to date.)

By the time the credits roll, one will have found "House of the Gorgon" a glorious, gorgeous love letter to Hammer's filmmakers and their faithful fans.

Though other films in release this year may draw more hype, "House of the Gorgon" is the one to see: the one that proves beyond any doubt that classic, Gothic, movie-making still holds a precious place in cinema's expressive heart.