One of the most bizarrely scary scenes in movie history takes place mid-day in a booth at a diner called Winkies where one man is telling another about a nightmare he had. In Mulholland Drive, this scene lasts only a few minutes, but is a standout within an excellent film. Baskin has multiple scenes that harken back to that one. They are not quite as effective by virtue of being more abject with their dread and horror, but the entire film captures that dream within a dream logic. Baskin takes its damned sweet time getting to the story, even giving us a full musical number before our arrival to the second half of the film, which is a descent into a hell we’ve glimpsed in the margins of Event Horizon and Hellraiser II, but never been so overtly shown, while at the same time being shown almost nothing. The exquisite use of dark and shadow here to show just enough to horrify but obscure enough so we are constantly wondering what the hell that thing we just saw was. Add to it an incredibly compelling “big bad,” and a final moment that I saw coming but still packs a wallop.