Movie review: Revenge

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Revenge is one of those rare films that not only promises, but also delivers.
So impressed were The Surgeons team that it was in our Top 10 Movies of 2018.
And if you were one of those who weren’t able to catch it in Australia last year, then you’re in luck as Revenge features in the programme for the Alliance Francoise French Film Festival in March.

It could easily be pigeonholed as a rape revenge horror film, but becomes so much more than that, steering away from the sexualisation to focus on the heart-pounding, brutal, and desperate fight for survival.

And boy is it a fight.

Revenge demands your attention and forces you to endure each scene to the bitter end, so it’s little wonder that it has been causing such a stir in the festival circuits.

When American socialite Jen spends a weekend away with her lover Richard before he embarks on a hunting trip with his friends, she gets more than she bargained for, when the whole affair turns incredibly ugly.

When one of the men, Stan forces himself on Jen while Richard is away, things go from bad to worse as Richard, who is unwilling for any of this to come to light, tries to pay his way out. When Jen refuses, he resorts to the only way he knows how… violence, and tries to end it all by pushing Jen off a cliff face.

Against all odds, Jen survives and every instinct in her being pushes her to claw her way out of the barren wastelands and claim back her dignity.

Some people may be quick to label this film as a feminist piece, which it is, but more than that, French director Coralie Fargeat produces a compelling narrative that is both stylish and gritty and realistic portrayal of the lengths that Jen has to go through a will to live. It’s a directorial feature that projects Fargeat immediately into the spotlight as she showcases how to make what essentially is a subject that can be all to hard to bear, and yet with heart and strong conviction we too are willing Jen to persist to the end behind every grimace and painful endeavour she must make to get there.

The acting is superb from a relatively small cast, with Matilda Lutz (Jen) more than capable of holding her own as the lone female opposite the trio of Kevin Janssens (Richard), Vincent Colombe (Stan), and Guillaume Bouchede (Dmitri).

By the films conclusion, all the characters must face up to their choices by pouring out their guts in order to bare all. There is no hiding when you are in the middle of the desert. You have no choice but fight in a barren and desolate landscape, and Revenge does exactly that.

The Diagnosis:

Beautifully shot by cinematographer, Robrecht Heyvaert, with an amazing score by Robin Coudert that compliments the narrative and keeps driving up the tension, Revenge offers some great performances that push their acting to the very limits. Director Coralie Fargeat manages to harness all these elements together whilst providing a stunning movie that elevates itself above the quagmire of sensationalism by using smart and intense drama at its core.

A must watch movie.

– Saul Muerte

Catch the screening of Revenge at the Alliance Francoise French Film Festival.

Screening times below:

Sun 10 Mar8:00 PMChauvel Cinema
Fri 15 Mar8:40 PMPalace Norton St.
Sun 17 Mar
8:00 PMPalace Central
Sun 24 Mar9:20 PMPalace Central


Movie review: Hell Fest

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When released in the States back in September 2018, Hell Fest crashed out to a poor box office despite what promised to be a great premise with something that was reminiscent of Tobe Hooper’s The Funhouse, (a forgotten gem) albeit with a more distinctive teen-slasher vibe in this instance.

There is a phrase that ‘Monsters don’t always lurk in the shadows, sometimes they hide in plain sight’, and what better way to hide and stalk your prey than in a nightmare entertainment theme park, built to scare and delight its customers.

As the teens enter The Dead Lands, an area of the theme park where the workers are allowed to physically touch you in their attempts to up the scare ante, a masked figure known as ‘The Other’ begins to circle and focus on his prey and inevitably picks them off one by one.

Hell Fest contains all the hallmarks of what should be a fun ride which it is including some brutal kills that have you grimacing in your seat, so why did it bomb and not resonate with its cinema going audience?

Most critics citied its lack of originality and that it fell to formulaic tropes within the genre with most of the characters presented as two-dimensional representations of what most horror fans have seen before. Although I did find Bex Taylor-Klaus’ performance of the wayward and rebellious Taylor, fun to watch.
I do find it hard to defend Hell Fest though, as it does appear to tread old ground and you never really feel connected to the characters. It’s a shame because director Gregory Plotkin’s (Paranormal Activity: Ghost Dimension) sophomore outing has a great playing field to draw out the horror and offer some unique approaches to the genre, but fails to deliver.

The Diagnosis:

Whilst Hell Fest is a fun ride, the ride itself becomes all too familiar all too quickly and the thrills whimper out with barely a flicker on the scare-ometer. And hey, it was awesome to see Tony Todd on screen as the theme park’s barker, despite his screen time being way too small.

  • Saul Muerte

Movie review: Velvet Buzzsaw

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Now that the paint has dried and a few weeks has passed since Velvet Buzzsaw was unveiled on Netflix, it seems a good time as any for this Surgeon to dissect Dan Gilroy’s third movie from the director’s chair.

Gilroy’s debut, Nightcrawler was a disturbing vision of a violent, voyeuristic underbelly of US society as depicted by the media, so there was much anticipation ahead of his third outing.

Teaming up once again with stars Rene Russo and Jake Gyllenhaal, Velvet Buzzsaw promised to be another dark and twisted journey into the recesses of the art world, both of whom excel in their respective parts; Gyllenhaal as Morf Vandewalt (great name by the way), an art critic who’s mind begins to unravel as the true horror behind Arts latest discovery Vetril Dease unleashes an evil that threatens the fabrication of materialism and expression to its foundations and rip it to shreds; and respected gallery owner Rhodora Haze, who is every shadow of perfection, but has a her own demons lurking within.

Having shuffled off this mortal coil, Dease’s work is discovered by Josephina (who also works for Rhodora, and coincidentally is having an affair with Gyllenhaal’s Morf) in his apartment and seeking a chance to lift her profile, nabs the lot in search of fortune.

And therein lies the rub.

Every character it seems is in search of their own personal glorification and with each stride to ‘perfection’, they fall deeper into the labyrinth of sin and despair.
None more so than Toni Collette’s Gretchen, who gets so bitter and twisted as she distorts and manipulates her grounding in order to establish a firm footing within the Artistic community.

Interestingly though, it’s only those that feed off the creative types and promote their material in order to meet their own ends, are the ones that get popped off one by one. Some, in glorious fashion.

The artists themselves are deeply affected by Dease’s paintings but instead of utter destruction, it only empowers them to go and create again. As if to explore their own passions and free their souls to be reborn, or thrive once more. 

The only other exception is Coco (everyone’s assistant) who is basically everyone’s pawn and unfortunately is the discoverer of most of the victims.

So far so bloody fabulous. Gilroy does a stellar job at tapping into the heart of the savagery embedded in the Art world, and there are hints of Altmanesque style of direction, as he weaves a multi-layered character narrative.

Ultimately though, where Gilroy succeeded with Nightstalker with its transcendence into hell, with Velvet Buzzsaw, he seems to get lost in the vortex of disillusionment. The more Gilroy subjects his characters to the turmoil within their own psyche, the more fantastical and hyper realistic their world becomes, alienating the audience as a result.

The Diagnosis:

Velvet Buzzsaw like most works of art is subjective to the perception of its viewer or audience. Some may find it a stroke of genius that embodies the ugly psyche of the human mind; others will declare it a façade. When you lift the veil on the mania and manufactured lifestyle that the characters lead, all that’s left is circles in the sand… but then again, maybe that was Gilroy’s point.

  • Saul Muerte

Movie review: Bird Box

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It’s been a couple of months now that Sandra Bullock’s Netflix vehicle was released and was strong enough among the Surgeons team to elevate it into the Top 5 horror movies of 2018, but not all of us had such a positive attraction to the film.

Until recently, Bird Box had remained on my Must Watch list and embarrassingly kept being pushed back when I found time to delve into a film. So, why did I keep doing this? What was propelling me away or not enticing me into the post-apocalyptic world where supernatural entities lead people to commit suicide?

Truth be told, I just found the concept uninteresting and perhaps too dark or deep. So every time I came to watch the film, I shied away to watch something else more upbeat or stimulating.

It doesn’t bode well to have these thoughts before watching a movie, but I still wanted to clear my mind and come into this fresh, but I was enticed by the fact that it was directed by Susanne Bier, who was behind the awesome The Night Manager.

Our first introduction to Bullock’s character, Malorie Hayes is a stern and strict one as she gives two children specific instructions of a troubled journey that lay ahead. It’s an interesting choice, as it doesn’t allow you to warm to her straight away. It does allow you to warm to her as you realize that our first window into her soul is a truly human one. As stark as it maybe it propels you through the narrative with her and Bullock’s performance on screen is one of the best I’ve seen in a long time.

In fact all the performances are significantly on point with all support acts given their chance to have “their moment” on screen, but particular nods should go out to Trevante Rhodes (The Predator), Sara Paulson (American Horror Story), John Malkovich who hams it up in a fantastically melancholic role, and Tom Hollander (Taboo).

Bird Box is also beautifully shot with cinematographer Salvatore Tottino exploiting ever inch of the canvas to project his vision.

Throw in a cracking score from the brilliant mind of Trent Reznor and you can fast see why my fellow Surgeons were chomping at the bit, especially with the split timeline narrative to provide the lead-up to the ordeal that Malorie faces in her blindfolded attempt to navigate the river to find sanctuary in a treacherous land that has been torn apart.

The narrative has to hang together on Bullock’s character and her performance, which it does… just. She weaves together a tumultuous tale of survival and eking out every possible emotion along the way, but ultimately the narrative does plod along and despite everyone’s best efforts feels strained and a fairly predictable outcome despite its best efforts to challenge your thoughts and opinions.

The Diagnosis:

Bird Box has all the ingredients to make an incredibly powerful movie with strong performances all round, especially with Bullock leading the charge. It boasts a director at her pique with a cinematographer who can tweak out the most stunning images, but like the creatures that invoke the fear, it is all fluff and no substance. Whilst the ride is enjoyable, it doesn’t leave you with any strong connection to the movie.

  • Saul Muerte

Movie review: Escape Room

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One of the more recent entertainment trends has seen people seeking a higher thrill or adventure in order to stoke the fires of curiosity and challenge their intellects through ‘escape rooms’ designed to fulfil these needs.
Often used as a means of office or work related events to boost morale and establish solid foundation for teamwork.
For any British readers out there, it’s hard to shake the image of these adventure seekers within The Crystal Maze shouting out, “I’ve got the crystal! I’ve got the crystal!”
But I digress.
It seems inevitable then that the movie industry would latch onto this craze and string a dark narrative behind them to lure in the cinema-going public.
Essentially what is in offer is a film that has similar traits to Saw or more appropriately Cube following a group of six strangers who in this instance sign up for one of these Escape Rooms only to realise that the stakes are high and very real.
And so we see them face challenge after challenge in a fight for survival and where humanity is put in the line and deeply questioned.

Initially enticed to the event by a strange looking cube which had this writer instantly thinking of the puzzle box from Hellraiser. Now that would have been interesting to see a group of people in search of the ultimate thrill by luring out the coenobites in a battle of ecstasy that would tear open their souls in order to reach their satisfaction… if only.

Instead, we’re presented with a series of events that feel all too familiar and despite the threat being all too real, never puts the audience on edge.
There are moments where we are taken on the ride and witness the characters plight, but it’s hard to emote any sense of empathy towards them as the focus is more on the danger presented in each room rather than on any depth in personality and any attempt to do so is incredibly formulaic.

The one standout set piece was in the drug infused room that leaves its occupants intoxicated with a highly venomous poison that disorientates and fucks with the mind. This scene does a lot to heighten the loss of control that the characters face and the panic that ensues.It was a pleasure to see True Blood’s Jessica (Deborah Ann Woll) on screen again and the lead protagonist (Taylor Russell) holds her own in a rewarding performance too.

The Diagnosis:

Escape Room could easily serve as a companion to Blumhouse’s The Belko Experiment as it equally pits a group of people in a fight for survival.
Whilst it offers a few thrills along the way, it never lifts the danger component to an extreme level and as such bobs along without much fanfare.
It’s an enjoyable movie but never really challenged my senses enough to connect with the characters plight.

  • Saul Muerte

Movie review: An Hour To Kill

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You’d be forgiven for thinking than Aaron K. Carter’s sophomore outing behind the camera; An Hour To Kill is just another low budget, off-the-wall movie, with actors who appear to be running off their lines without any connection to the audience and cinematography that just about scraps the viewing experience over the line.

But if you look past the cracks and crevices that are blatant for a movie of its kind, something begins to happen that lures you in… namely the screenplay. Carter wisely breaks up the narrative of the film into various sections that are either flashbacks or stories told by our leads. This change allows the script to shift gears with each section and push the audience forward, whilst never feeling stagnant or spend too long on the sparseness of the captured footage. This is definitely a testament to Carter’s writing and direction to be able to transport the viewer into the world and not be too distracted by its obvious flaws.

Whilst the opening scene is obviously influenced by Tarantino, using a blend of peppered dialogue and crime, especially with rookie hit man, Frankie played remarkably convincingly by Frankie Pozos. It could be easy to dismiss Frankie’s performance at first, but as the story unfolds the audience finds themselves integrated into his character and his interaction with veteran hit man, Gio (Aaron Guerrero). Guerrero also teamed up with director Carter in his debut feature, Dead Kansas and also seems quite relaxed in his character on-screen.

The crux of the story is centred on an ongoing conflict between crime lord Mr. Kinski (Mel Novak – Game of Death) and Arash. When the former suspects Frankie as a mole, he charges Gio with the task of bumping him off. Gio asks that he be given the opportunity to do it his way. Kinski agrees but gives him the ultimatum to enact his deed within the hour. So with an Hour To Kill, Gio and Frankie exchange stories to pass the time.

Each story that is presented goes from the bizarre to the downright deranged and sucks you in deeper into the insanity. The first story, Valkyrie’s Bunker, a typical slasher style short story, presents a group of girls who drive to a Nazi bunker for a group project only to find out they are not alone.

The second story actually suits the style that the movie has been shot in, resulting in numerous pieces to camera monologues. Assacre focuses on an eating contest that has 5 entrees competing to eat a fairly substantial burrito. When the reigning champion is defeated, he teams up with fellow loser to seek revenge and produce a powerful pepper. The results are more than anticipated and one of the best and hilarious death scenes in recent times.

The last segment, Hog Hunters is the most crazed of all when a bowling team goes in search of some entertainment only to get more than they bargained for. Words cannot do this segment justice, just sit back and let the wild times unfold.

The Diagnosis:

Yes it’s low budget and it doesn’t hide the flaws, but Carter creates grindhouse-style deliverance in his direction that highlights his writing abilities and the acting credibility of the lead hit men. If you simply allow the story in An Hour To Kill to wash over you, you’ll be pleasantly entertained.

  • Saul Muerte

Retrospective: The Blair Witch Project

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Transport yourself back twenty years and cast yourself in an auditorium draped with red velvet curtains and matching carpet where the unwanted popcorn had stuck to the floor and would crunch beneath your feet.

This is where I found myself ahead of this massively hyped movie that had allegedly had audiences throwing up in the aisles.

Was this a reaction to the events in the movie or from the hand-held cinematography that the filmmakers Daniel Myrick and Eduardo Sanchez were looking to achieve in order to capture the old documentary style filming you often saw in news reports etc.? What ever it was, Myrick and Sanchez had a lightning in the bottle moment that sent the Internet ablaze while it was still in its infancy, (no other film at this stage had created such a multimedia sensation) and in the process reawakened the found footage genre.

The twenty-year-old version of myself was determined not to buy into the insanity, but as I sat as the lights went down anticipating an awakening of my own. To be scared, thrilled, and gripped in fear at the events that would flow before me. This twenty-year-old was also incredibly stubborn. I beckoned, nay, willed the filmmakers to push my senses to the limit. Yes, I was disorientated, but not nearly to the degree that I had been led to believe, and I found my excitement transported to fury at these whining Americans that were lost in the woods.

To say that I was underwhelmed was a gross understatement.

And yet, something kept niggling away at me beneath the surface.

I was aware of the impact that this little movie had had on the horror industry, an industry that I loved so much. And numerous friends of mine would often talk about the impact that it had on them over the years. Was I wrong to have scoffed at the film so readily? Was there more to this movie than just your average run-of-the-mill found-footage horror?

Films of similar ilk like Paranormal Activity, or Cloverfield would come and go and not resonate as deeply, with the exception of Jaume Balagueró’s [Rec]. It was safe to say that I wasn’t a fan of this sub-genre.

It was only upon a few years back in preparation ahead of Adam Wingard’s sequel Blair Witch that I gathered the team together for a podcast on the franchise. It was during this time that I began to appreciate the making of this movie.

Listen to The Surgeons of Horror podcast:

The Blair Witch franchise


As The Blair Witch Project celebrates its 20th Anniversary, I’ve come to realize that it is a cracking example of experimental horror at its finest. The techniques that Myrick and Sanchez use in both production and marketing were exemplary, and should be applauded.

Whilst some could argue that it feels like a student film in places, (which let’s face it, it was) the direction would mark a new approach in film-making moving forward and open the door for similar stylized films.

With a 32-page screenplay and a trio of as-yet undiscovered actors (Heather Donahue, Michael C. Williams, and Joshua Leonard) in their crew, (some having to double-up as camera crew) they ventured out into the wooded terrain in Maryland to carry out their vision.

The aim was to guide the actors through pre-decided marks throughout the woods, where they would improvise around the screenplay, whilst adapting to each action as it was given to them. The effect was a naturalistic piece of drama, which made the plight of our trio all the more gritty and realistic.

It essentially became a test of endurance on the three actors, as they were deprived of food and disorientated by lack of sleep.

Throw in the shock ending, which was initially asked to be reshot by Artisan Entertainment for its confusion, only to end up in the final cut. It’s a good job too, as the ending is both startling and unsettling leaving the viewer hollow inside. Any movie that can garner such a reaction from its audience will always be held highly in these writers’ eyes.

The final mark of brilliance though comes in the marketing. With so much back-story written, it became an online producer’s playing field to create and sell the ‘history’ and cement the believability further. In an age where the scope of the internets online marketing capability had yet to be explored, and the mythology behind the Blair Witch was catapulted into the mainstream, coupled with the mockumentary, Curse of the Blair Witch, and the book, The Blair Witch Project: A Dossier.

There’s plenty of good reason that The Blair Witch Project should and still be deemed a horror movie classic, and twenty years on, it is a testament to clever filmmaking, marketing, and that special lightning in bottle magic, that only comes around every so often.

Listen to The Surgeons of Horror podcast:

Director Eduardo Sanchez interview

  • Saul Muerte

Press Release: MidWest WeirdFest Announces First Programming Wave for 2019

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Eau Claire, Wisconsin, January 16, 2019 – MidWest WeirdFest announces its first programming wave for 2019 today. The third annual festival – a cinematic celebration of all things fantastic, frightening, offbeat, and just plain weird – takes place March 8-10, 2019 at the Micon Downtown Cinema in Eau Claire, Wisconsin. 

“This year’s fest line-up is set to delight fans of cutting edge horror, sci-fi, underground, and documentary cinema”, says festival founder and programming director Dean Bertram. “We’ve put together a heady and eclectic mix of speculative genre offerings, underground strangeness, and paranormal revelations: From a psychedelic Manson Family reimagining and a post-apocalyptic dance-off epic, through tales about a reanimated electrokinetic teenager, haunted stoners, and inept buddy superheroes, to a bonkers lake monster adventure and the most in-depth Bigfoot documentary ever produced. And that’s just from MidWest WeirdFest’s first programming wave of 2019!” 

Discounted festival passes are now on sale at: www.midwestweirdfest.com. Individual tickets to each film will go on sale closer to the festival; both on the fest’s website, and directly from the Micon Downtown Cinema in Eau Claire, Wisconsin. 

Full program details and filmmaker guests will be revealed in February. 

The first seven feature films announced follow: 

FP 2: BEATS OF RAGE (director: Jason Trost)

Despite hanging up his boots following the events of the cult classic “THE FP”,  JTRO must return to the blood sport of Beat-Beat Revelation one last time.  JTRO and KCDC – his mystical hype man – will quest deep into The Wastes, a land decimated by the Beat Wars, to compete in the ancient Beat-Beat tournament, called “Beats of Rage”, face AK-47, and, hopefully, save the world.  Imagine a MAD MAX style future, where battles to the death are fought via the video game Dance Dance Revolution, and you might have an inkling of the crazy and hilarious post-apocalyptic world of THE FP.

THE INVISIBLE MOTHER (directors: Matthew Diebler and Jacob Gillman)

When lesbian stoner Marcy returns to her grandparents’ home to help care for her mentally declining grandmother, she discovers they are being terrorized by a malevolent force from a Victorian post-mortem photograph. THE INVISBLE MOTHER is a giallo-styled, terrifying descent into supernatural terror.

LAKE MICHIGAN MONSTER (director: Ryland Tews)

The eccentric Captain Seafield hires a crew of specialists to help him plot revenge against the creature that killed his father. After several failed attempts, Seafield is forced to take matters into his own drunken hands. What began as a simple case of man verses beast, soon turns into a rabbit hole of mysterious unknowns and Lovecraftian hijinks. LAKE MICHIGAN MONSTER — banned in four lakes! 

THE LAST OF THE MANSON GIRLS (director: Lonnie Martin)

Convinced there’s more to the Manson murders than meets the public eye, counterculture journalist Paul Krassner embarks on an LSD tinged investigation of the last of Manson’s disciples: Brenda McCann, Sandra Good, and Lynette “Squeaky” Fromme. What he finds could change how the world sees the 60s… if he lives long enough to tell the story. A riveting, speculative, and psychedelic journey into one of the darkest byways of 1960s Americana.

ON THE TRAIL OF BIGFOOT (director: Seth Breedlove)

From Small Town Monsters, and MidWest WeirdFest alumni filmmaker Seth Breedlove (THE MOTHAN OF POINT PLEASANT, THE BRAY ROAD BEAST), comes this enthralling documentary examining the history of the Bigfoot phenomenon. ON THE TRAIL OF BIGFOOT was filmed coast to coast during 2018 and features witnesses and investigators of the elusive creature.  Prepare to go deeper into the Bigfoot subject than you’ve ever gone before.

REBORN (director: Julian Richards)

A stillborn baby girl is brought back to life by a morgue attendant using electrokinetic power. On her sixteenth birthday she escapes her captor and sets out to find her birth mother leaving a trail of destruction behind her. Don’t miss this stunning modern twist on 70s and 80s horror classics like CARRIE, FIRESTARTER, and THE FURY. Stars genre legends Barbara Crampton (RE-ANIMATOR, BEYOND THE GATES) and Michael Parle (STREETS OF FIRE, THE PHILADELPHIA EXPERIMENT).

ZEROES (director: Charles Smith)

After leaving a Halloween party dressed as ninjas, Kenneth and Ray – two drunken roommates – thwart a robbery and their heroics go viral. No litterer or public urinator is safe until an actual serial killer begins to ravage the city. Our inept crime-fighting duo, with the help of the enigmatic and insanely wealthy Gary, must catch the killer before Kenneth’s crush Kate becomes the next target. Hilarity abounds in this superhero spoof.

For more details visit the festival’s website: www.midwestweirdfest.com

The Unbreakable series

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I remember it clearly, the end credits were rolling, the auditorium lights were fading up when a well-known media personality, that I won’t name, turned around in his seat in front and said to my friends and I;

“What the fuck was that?”

The year was 2000 and I’d just sat through a preview screening of M. Night Shyamalan’s much-anticipated follow-up to his previous blockbuster ‘The Sixth Sense’, ‘Unbreakable’. My friends and my reaction was the complete polar opposite of said famed personality. We saw the film for what it was, an utter genius take on a superhero origin movie.

Unbreakable’ was in fact a bold experiment by Disney, they’d entrusted their new wunderkind writer/director to follow up his previous success with another, and he’d gone and made a superhero movie way before anyone had.

Over the years that followed I re-watched and re-watched its Special Edition DVD. It was my go-to movie any time I was looking for something to watch. I devoured its rich story telling, it’s perverse humour, the subtle technique in reveal and what to not reveal. I loved the raw drama; of a normal couple toppling over a razors edge, two middle-aged men (Bruce Willis and Samuel L Jackson) searching for their place in the universe, a son desperately holding onto that time in your life when your parents are infallible. None of these were, or are, the standard ingredients of a comic book superhero movie. I savoured the Special Features on the DVD, particularly the ‘deleted scenes’, lamenting on their loss to ‘Unbreakable’ considering they were such strong scenes.

I loved the film from back to front…but the critics didn’t. Reading bad review upon bad review I wondered whether the critics had watched the same film.

Over the years I’d heard rumours that ‘Unbreakable ‘was to be the first film, the origin film, of a trilogy, but the more and more M Night spiralled into mediocrity with flop after flop, first came ‘The Lady In The Water’ and ‘Avatar The Last Airbender’, etc. etc., only slightly redeeming himself with ‘The Visit’.

So flash forward to 2018 and there I was ‘giving M Night another go’, I sat in my lounge room watching ‘Split’ because, well…James McAvoy is always bloody amazing and I’d just watched Anya Taylor-Joy in ‘The Witch’, so yeah….

And I was really enjoying it a lot. Though the more and more I watched, more and more something nagged at me – there was something really familiar at play here. The subtle reveals, the perverse humour, its dark fantastical reality.

Was McAvoy’s many characters crazy? Hell yeah, he did have some serious mental defects but the big question, as with David Dunn in ‘Unbreakable’…were his powers real or a figment of a wild imagination?

Would we see a supernatural being called The Beast or would it be some delusion fool with a furry fetish?

But it was as I was watching The Beast talk about the ‘broken’ being pure and the ‘unbroken’ were to be punished that things really started to click. By the time the ‘Unbreakable’ music began to swell as Crumb hid in his escape house and we cut to a non-descript diner with David Dunn I was literally off the sofa screaming at the TV.

“IT’S A MOTHER FUCKING UNBREAKABLE SEQUEL!!!”

And so now I have my finale.

Glass’ is really not a movie I can openly discuss with giving too much away, and frankly I’m still thinking about it several hours after I watched it. However again I sat in a cinema with an audience that I don’t think quite understood its wit. I think I was literally the only one laughing at its dark humour.

The cast were amazing, all returned from the previous two films (except Robin Wright) and why wouldn’t they, this was as much their story as it was the leading pro/antagonists. M Night (returning as his cameo from ‘Unbreakable’) even managed to include the deleted scenes from ‘Unbreakable’ as if they were made solely for that purpose.

This is not a conventional film though; ‘Glass’ is really is an act three of a three-film story. And while both ‘Unbreakable’ and ‘Split’ appear to be origin stories for the three lead characters Mr Glass, The Beast, and The Overseer, this transcends the ‘origin’ tale to make it an ‘origin of species’ story.

Already, like Unbreakable, critics do not like Glass but filmmakers don’t make films for critics.

The Diagnosis:

Glass’ is a fantastic final chapter to M Night Shyamalan’s daring superhero experiment. It’s exciting, it’s funny, it’s bloody entertaining and it’s a very well calculated story from a bold director who maintained the tenacity to play the long game here to create a three part opus for himself and us.

Unbreakable’, ‘Split’ and ‘Glass’… the little superhero films that could and did.

  • Myles Davies

Retrospective: Saw – 15 years on

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Strip away all the torture devices and wash away all the blood-soaked, gore-infested mayhem that the franchise has become synonymous for and some of you maybe questioning what’s left? But with James Wan and Leigh Whannell’s original film that kick-started the whole Jigsaw frenzy the audience were treated to an exercise in constrained drama, flickered with tense, psychological elements that quite rightly projected the writer and director partnership into the Hollywood limelight as a result.

Part of Saw’s brilliance comes from the low-budget constraints that were placed on the making of the movie. Once the creative duo realised that the cheapest way to shoot a movie would be to have two actors in one room, this germ of an idea developed into the final product and the birth of Jigsaw and his twisted vision of justice.

Apparently the Jigsaw character began when Whannell feared that he had a brain tumour and pondered the notion of what he would do or need to do if he were only to have a year or two to live. This was the leaping point into the dark recesses of Jigsaws’ mind.

It’s this tightly shot, well structured movie that allowed Wan to develop his technique for manipulating lights and shadow to trick and deceive the audiences’ eye. He would harness this skill further with his sophomore film Dead Silence before working on his masterpiece, The Conjuring.

It wasn’t that easy getting budget for the movie though. With no luck gaining interest from their homeland in Australia, Wan and Whannell tried to taut their project in Los Angeles, but even then had to shoot a short feature to provide a proof of concept before getting any decent interest.
You have to applaud their bravado to. So intent were they in getting their vision made, they insisted on having both directing and acting duties respectively. In the end it took newly formed production outfit, Twisted Pictures to give them their desires and have been behind every Saw movie since.

So with one half of the acting team already cast in Whannell as the photographer with a complex past, the team needed a decent actor opposite him as Dr. Lawrence Gordon, a Doctor with an equally dubious past. In steps Cary Elwes, normally associated with his comical roles but proved worthwhile in this serious performance, more than holding his own and providing gravitas to the scenario.

The masterstroke comes with the casting of Tobin Bell as Jigsaw aka John Kramer, who simply owns his role and has propelled himself into horror movie history with his performance as the disturbed yet brilliant mind behind the various traps and tortuous devices throughout all the Saw movies.

So with the narrative played out with Adam and Dr. Lawrence wake up in a bathroom, chained to the floor with nothing but a corpse, a revolver, and a tape recorder to guide them on a journey that will test their metal and push them to the very limits of their intellect and perception.

Saw would be released in front of a Sundance audience for its initial premiere where Lionsgate picked up the distribution rights and the rest is history.

Since then, Wan has established a firm career in the director’s chair to the point hat he has been given the chance to give DC movies some decent crowd with Aquaman, and Whannell more recently carved his own success with Upgrade.

So for those who may have been apprehensive about checking out the origins of Jigsaw, before the bloodbath began, I’d recommend going back to the original source as you maybe pleasantly surprised by this outing with a clever, psychological thriller that is an example of how to shoot a low-budget movie with a lot of smarts and a decent narrative to keep the audience hooked.

It still stands strong 15 years on and my bet is that this will still be the case in another 15 years.

Movie review: Son of Frankenstein (1939)

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We’ve barely a decade of horror under their Universal belts, the powerhouse production company was struggling once more to pull in the numbers at the box office. So it’s with some sense of irony that the movies that started it all in Dracula and Frankenstein would be screened as a double feature and reignite the craze all over again. The stunt would be so successful that Universal Pictures would look to producing another instalment of their beloved monster franchise with Son of Frankenstein, in what would be the third of the series.

In Frankenstein and Bride of Frankenstein, Universal had created two classic features, thanks to the direction of James Whale, where some have argued that the latter outweighed its predecessor. Whatever your views on the matter, it would be a touch act to follow and into the directors shoes steps Rowland V. Lee (The Count of Monte Cristo, The Three Musketeers) to try and accomplish this task.

The result is one that is worthy of the Frankenstein name, despite it bordering on silliness and camp on occasion. (A sign of the direction that Universal would fall into down the track.)

With grand plans to shoot the film in colour using Technicolor only to be disbanded due to artistic and budgetary reasons, Son of Frankenstein would be presented to the audience in black and white and reunite the horror icons, Bela Lugosi and Boris Karloff. In this instance, the latter donning the Monster mask for the last time in a feature film. The two would once again prove to be a winning formula with Lugosi playing the deformed Ygor and practically stealing the show with his performance. In an interesting turn of events, it is Ygor who is the dominant presence and has The Monster at his beckoning call, as he commands the creature to kill those that have proved him ill in the past.

Leading the cast as the son of Frankenstein is Basil Rathbone (The Adventures of Robin Hood) who cuts a fine figure of a man trying to right his fathers’ wrongs and changing the perceived conception of his family name. It would have been interesting had Peter Lorre had played the role as he had been cast, but had to withdraw due to illness. It’s a shame because I’m a huge fan of Lorre and would loved to see him cast against Lugosi and Karloff, but as I said, Rathbone more than proves his worth.

A worthy nod should also be assigned towards Lionel Atwill (Mark of the Vampire) as Inspector Krogh, a character whose past encounter saw his arm torn off his limb as a child when he came into contact with The Monster. It’s a stoic performance and Atwill shines in an already crowded cast of personalities.

The Diagnosis:

It’s a fitting end to this chapter in the Universal Horror history.
Son of Frankenstein manages to harness all the right ingredients to make it a worthy companion to its predecessors, whilst falling on the right side of drama and terror for its time.

Lugosi and Karloff are in their element and would ride out on a high. Around the corner a new king to the throne would lay in wait in Lon Chaney Jr… but that’s another tale.

  • Saul Muerte