Monthly Archives: December 2017

The Love Witch

23 Saturday Dec 2017

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As summer solstice rolled by last night for those on the Southern Hemisphere it seemed appropriate to delve into a movie that is embedded in the occult and then i remembered a little known movie that was released not so long ago called The Love Witch.

It’s something of a shame though, that this film has drifted under the radar of popularity.
And yet one can understand why this film has been lost in the depths of the celluloid art form when more ‘heightened’ and easily accessible popcorn horror is at hand.

The fact that this movie is unique is both part of its beauty and its Achilles heel.
Billed as a comedy horror of sorts, the light-hearted approach to the films direction which is quite subtle at first and can easily be lost as a result.

Coupled with the style that The Love Witch utilises to deliver its message through a 60s love song to a bygone era, with a modern setting and thinking, one could feel quite brainwashed by the experience of a world not far removed from Hitchcock and Technicolor thrillers.

Directed and written by Anna Biller, The Love Witch stands out with her firm grasp of the setting, and beautiful attention to detail.

Following a White Witch, Elaine (Samantha Robinson) whose look is so fitting and perfect that one could be forgiven for believing that she was lifted straight out of the 60s, The Love Witch follows her journey as she dabbles in Love magic to woo men in her pursuit of love and happiness.

Her callous nature leads Elaine into dangerous territory though, as her potion proves to effective, leading men dead in her wake.

It’s only when she meets the ‘perfect man’ that her troubles start to catch up with her.

The Diagnosis:
The battle of the sexes is firmly on display here with a fresh twist on the female gaze and the lengths of absurdity that is evident through a timeless tale.
The Love Witch owes a lot to the strong and beautifully shot scenes.
It’s not to everyone’s taste but if you let the film absorb you, the feeling you’re left with is absolutely mesmerising and deeply satisfying.

  • Saul Muerte

Movie review: Replace (2017)

22 Friday Dec 2017

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Taking out the A Night of Horror’s “Best Film” award from this years festival, Replace doesn’t match this accolade at face value, at least for the first few minutes, but as the layers are slowly pulled back, an intelligent and beautiful movie emerges within.

The reason for this initial reaction, is through the level of confusion that the viewer is faced with and the style that director Norbert Keil has chosen seems off kilter. The acting seems to be similarly stifled too, but all this is a deliberate device to echo the feeling of despair that our lead character, Kira is confronted with.

As she unravels her situation, Kira has to face up to her situation, revealing some unwelcome truths along the way.

The topic of the movie, deals with an age-old dilemma, that seems to be more concentrated over the recent years with women in particular. Especially with the developments in social media and this continuous fascination with beauty and youth that faces our society.

Imagine then the gravity of the situation when you discover that your skin ages rapidly and begins to wither away. The impact that this has is immense and one that Kira lands head on, but when she further discovers that she can replace her skin with another’s with immediate effect, her journey then transcends into a murderous rampage, fuelled by the need to stay youthful.

If this isn’t a measure of our times, I’m not sure what is.

The cinematography on display is both stylised and stunning and Tim Kuhn deserves some of the accolades thrown his way for luring the viewer in through a hypnotic gaze in places.

The score is equally as mesmerising with its rhythmic pulse driving through the films narration.

Further praise should also be bestowed upon Rebecca Forsythe who manages to display Kira’s vulnerability, innocence, rage, and desperation, with delicate transition and believability that belies her age.

The Diagnosis:
This latest entry into the body horror genre is filled with intelligence and beauty. A lethal combination that hits the mark through Norbert Keil’s stunning vision.

 

  • Saul Muerte

Movie review: Alien: Covenant

22 Friday Dec 2017

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Some time has passed now since Ridley Scott’s latest chapter in the Alien universe was released.

As with most movie franchises that have been so immersed in our psyche and reawakened the nostalgia in us all when the latest adaptation hits the screens, we yearn for that ‘magic moment’ that connected us to the world in the first place.

It only exasperates things further when in this instance there have been two successes from the outset and have left such a strong mark that many have tried to replicate but fallen short of every time, even Scott himself with his prequel Prometheus, which many felt fell short of their expectations.

For good or ill, Scott has chosen to delve deeper into his journey and provided us with Covenant, the true beginning of our favourite Xenomorph.

The trouble lies with trying to provide the audience with all that we fell in love with offering something new in the mix at the same time.

A fine line to walk along and one that will guarantee some unhappy punters regardless.
The journey does carry on where Prometheus left us and David’s (Michael Fassbender) search for the ultimate creation in a God-like pursuit.

When the crew of the Covenant, an ark carrying human cargo to their new Eden, are woken early from their hyper sleep, their troubles begin. Despite a form of salvation appearing in a transmission originating from an inhabitable planet, their journey takes them further down the rabbit hole.
Cue new creatures and a world within David’s playground.

Some fine performances are on display with Fassbender’s dual role of David and Walter, alongside Katherine Waterston’s Dany (the voice of reason and hope), Billy Crudup’s faith driven leader of the group, and Danny McBride’s pilot Tennessee.

Much more could have been made of Demián Bichir’s Sgt Lope and his talents are criminally wasted, but one could put that down to an over-populated cast who one can’t really differentiate as the film goes on. Their expendable for a reason but our care factor is non existent when they are knocked off one by one as a result.

As far as offering something new to the genre, Scott does provide us with some fascinating creatures and a possible hint and something less tribal and intuitive is on hand only to be squashed by the ‘outsiders’. But one can’t help but feel that there is something missing to this tale and if rumours are to be believed that the next venture may completely be remiss of the xenomorphs, then we are left scratching our heads and pondering the end game to Scott’s vision.
It’s little wonder then, that some traditionalists are campaigning for Blomkamps’s vision for an alternate take on the universe to become a reality.

The Diagnosis:
Whilst there are plenty of entertaining moments in this film with some strong performances from the cast and ultimately an enjoyable narrative, the faithful fans of the original movie will be disappointed in this latest direction.
Recommended for those who have never drifted into the Alien universe before, but what does that say when you’re effectively alienating your fan base in a quest for one man’s vision?

  • Saul Muerte

Movie review: Honeymoon

13 Wednesday Dec 2017

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Back in 2014, Leigh Janiak delivered her directorial feature debut with Honeymoon, a film that centres on a newlywed couple who arrive at a remote cabin to celebrate their nuptials.

We are first introduced to the couple through their recorded confessions to camera as to how they met, which is actually beautifully acted.

The homestead for the honeymoon soon unleashes and otherworldly experience that shifts the film into a new territory which keeps the couple and us on their toes.

The film is currently available on Netflix and may have slipped by unnoticed by fans of sci-fi horror.

Riding on the crest of fame that came to the leads Rose Leslie (Game of Thrones) and Harry Treadaway (Penny Dreadful) Janiak crafts a strong narrative of young love.

The problem is that this film relies heavily on its leads to pull the story along, and in stronger hands they could have pulled it off with a blink of an eye, but it has to be said that the players weren’t quite up to the task.

There are moments where the tender moments feel forced and disingenuous and perhaps with more time and space with the actors this could have been reached and maintained to keep within the realms of believability.

It’s unfortunate as there are key moments later in the film when there idealistic notions of romance come unraveled which need the hard work at the front of the movie for it to be pulled off.
But let’s face it, it’s rare these days that actors have the luxury of time to build on their characters and deliver cutting edge results, so I don’t want to appear to harsh because the moments that they do connect, the performances are incredibly touching and vibrant.

Part of this I strongly believe is due to Janiak’s adaptability behind the camera. There is an organic approach to her style that feels polished and we are able to be transported as a viewer from scene to scene with a style that belies her experience at the time.

Since then, Janiak has helmed an episode of Outcast and 2 episodes of Scream: The TV Series, and if IMDB is to be believed, could very well be directing The Craft sequel.

The Diagnosis:

The setting and ambience is incredibly well directed and despite a few little niggles, I found myself strangely drawn into the narrative. I would definitely recommend watching this one.

 

  • Saul Muerte

Movie review: Life

13 Wednesday Dec 2017

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When life gives you lemons you make lemonade or in this case, when Life gives you aliens you get a carbon copy of everything you’ve seen before, and yet it’s strangely watchable despite its obvious flaws.

When a six-man crew encounter evidence of life on Mars, they get more than they bargained for.

Starring Jake Gyllenhaal, Rebecca Ferguson, and Ryan Reynolds who all turn out solid performances as the storyline ticks along at a fairly decent pace.

It’s just a shame that Life doesn’t offer any smart alternatives in the process of its narration.

The only glimmer of difference comes in sacrificing one of its key players in a semi-shock twist moment.

By the films conclusion though, it tries to pull another trick but this resolution could be seen from a mile off and the audience is left disappointed as a result.

The Diagnosis:
Most cinephiles may note the comparisons with Alien and other sci-fi horror movies if its kind, but it is a great attempt at a modern entry into this genre and has enough energy and pace to keep the momentum moving along.
This combined with the strong acting make it compelling viewing despite its flaws.

  • Saul Muerte

Movie review: 47 Meters Down

11 Monday Dec 2017

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Or a more accurate description would be ‘Just barely brimming above the surface’, as this movie never really dives any new depths in Shark horror films.

It would appear that this is a tough task to take on, as many souls have ventured into the big blue to tackle one of humankind’s greatest predators. However, since Spielberg’s classic Jaws invented the term ‘blockbuster’ back in 1975, those pretenders have been left drifting with no sense of direction at all.

While director Johannes Roberts (F, The Other Side of the Door) does his best to weave through the tension surrounding two sisters who attempt a cage dive for the first time, only to plummet to the ocean floor.

As there oxygen runs low, they must brave the shark infested water in order to survive.
Australian Claire Holt cuts a fine performance as the fearless Kate and one can see her career escalating beyond The Vampire Diaries from which she became a household name.

Where as Mandy Moore’s Lisa grates, and as twee as she may appear to be, by the end of the movie you’re wishing that she would become shark bait so that we don’t have to endure her shrill voice in every panic-driven scene.

On a lighter note, it was refreshing to see Matthew Modine back despite little screen time.

His role as the boats captain has a subtlety to it that only an actor of his expertise can pull off whilst still being believe able. His presence is a welcome relief during the scenes when the girls are submerged, albeit in the occasionally voice across the comms system.

The diagnosis:
With the promise of a sequel in the works titled 48 Meters Down, it must be doing something right, and whilst it is watchable, this hardly blows you out of the water.
Best advice would be to get tanked and watch with some mates.
At least then you can rely on the good company.

 

  • Saul Muerte

Movie review: Bloodlands

10 Sunday Dec 2017

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Steven Kastrissios takes us deep into modern Albania for his sophomore outing in the director’s chair.

Paving his way into the horror scene, Kastrissios turned heads with his debut feature, The Horseman, partly for hits ‘extreme violence’ but also for his ability to not shy away from the harsh society that is infused throughout the films narrative.

With Bloodlands, the subject of vengeance is once again at the forefront of Kastrissios storytelling, a subject that seems close to his heart.

In this instance, we are faced with a family struggling to make ends meet and with conflicting interests pulling at their innermost desires. It is only when confronted with a blood feud set by a witch and her mysterious clan that the family must unite and stand together against a common enemy in a brutal fight for survival.

Recently Bloodlands took out 3 awards at A Night of Horror Film Festival for Best Foreign Language Film; Best Australian Film; and Best Australian Director, and one can see why as it this tale of mythology and highly tense drama is a refreshing sight against the anarchy and gore that has been presented of late on our screens.

Cinematographer, Leander Ljarja beautifully captures the Albanian landscape, and Kastrissios slow burn direction allows the tension to build steadily to keep the viewer gripped to its gritty conclusion.

It just feels a shame that the characters feel so two-dimensional in places and this makes the strong concept and themes lost in what would have been thoroughly engaging piece had more care and attention centred on this area.

As such, there are no real shock moments, and the path becomes a predictable one as a result.

The Diagnosis:

A slow-burn horror that is reminiscent of The Hills Have Eyes in tone, but is embedded with Albanian culture, which adds a new flavour to the horror scene. A rewarding watch despite some character flaws.

– Saul Muerte

Movie review: The Killing of a Sacred Deer

08 Friday Dec 2017

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Alternate Title: Surgeon’s Choice

 

If you asked me to list my favourite directors, here are my top three:

  1. Guillermo del Toro – I want to curl up inside his brain and take a nap despite the soul-crushing disappointment that was Crimson Peak (2015)
  2. Simon Rumley – You must watch Red, White & Blue (2010) or his deranged but brilliant contribution to the anthology horror film Little Deaths (2011)
  3. Yorgos Lanthimos. Oh, Yorgos Lanthimos, you beautiful weirdo.

Lanthimos, the Greek director of Dogtooth (2009) and The Lobster (2015), gifts us with yet another glimpse into his weird and wonderful imagination in this psychological horror film.
The Killing of a Sacred Deer is based on the Greek myth of King Agamemnon, his daughter Iphigenia, the goddess Artemis and, as per the film’s title, one dead deer. Go forth and Google.

Colin Farrell, star of The Lobster and the director’s deadpan muse, is in the best form of his career.
He plays Dr. Steven Murphy, a successful cardiothoracic surgeon, with a beautiful wife played by the icily perfect Nicole Kidman, two beautiful kids (Kim and Bob) and a beautiful home.
Other than a strange bedroom ritual (I won’t divulge more here but it does kind of involve general anaesthesia), his life appears to be perfect. Until everything goes to shite.

When he first meets with the teenage Martin (the excellent newcomer, Barry Keoghan), you immediately think “Hmmmm.” Martin immediately comes off as odd and unnerving. Their meetings appear to be quite suspect especially when Steven gifts him an expensive watch and lies to a colleague about who he is when he unexpectedly visits him at his hospital.

When Steven invites him home to meet his family, it appears that the relationship between the boy and the surgeon is innocent. The viewer goes from suspecting Steven is up to no good to suspecting Martin himself. It soon becomes evident that Steven has a stalker on his hands…

Half way through the film, and after a building sense of dread, the film suddenly veers from Fatal Attraction to Sophie’s Choice. To give any more away would be to deprive you of the thrill of watching the film with no idea what’s going on or what’s going to happen next.

Diagnosis:

The Killing of a Sacred Deer is definitely a Yorgos Lanthimos film yet it doesn’t feel like the carbon copy of a successful formula (ahem, Wes Anderson). If you are a fan of the director, you will definitely enjoy the film and if you are new to his work, it may just make you want to watch his earlier films.

 

  • Vanessa Cervantes

2017 Winners of A Night of Horror and Fantastic Planet Film Festivals

08 Friday Dec 2017

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Sydney, Australia, December 6, 2017 – The winners of the 2017 A Night of Horror Film Festival and Fantastic Planet Film Festival are announced.

Presented by Deadhouse Films, the 11th annual A Night of Horror International Film Festival and Fantastic Planet, Sydney Sci-Fi and Fantasy Film Festival showcased a stunning array of the latest and greatest horror, sci-fi, thriller and fantasy films from around the globe. Here are the winning films from the 2017 event:

Norbet Keil’s gorgeously gruesome body horror REPLACE took A Night of Horror’s “Best Film” award.
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While Brazilian filmmaker Samuel Galli captured “Best Director” for his confronting serial killer / supernatural chiller OUR EVIL.
That film’s mesmerising lead actor, Ademir Esteves, won the award for “Best Male Performance”.
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And the “Best Female Performance” award was given to Dafna Kronental for her stunning performance in the beautifully lensed and terrifying Australian outback nightmare THE MARSHES.
Listen to our podcast with director Roger Scott here.
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A Night of Horror’s “Independent Spirit Award” for a feature film was captured by the riotous Ozploitation flick MUSCLECAR.
Listen to our podcast with director Dwayne Labbe and producer Aaran Creece here.
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But the biggest winner of the festival was the mesmerising Australian/Albanian co-production BLOODLANDS. The haunting film focuses upon a traditional Albanian family, coming to terms with modernity. But their domestic problems seem insignificant when the family find themselves drawn into a horrific blood feud with a witch and her kin. BLOODLANDS took out three of the fest’s major awards: “Best Foreign Language Film”, “Best Australian Film”, and “Best Australian Director” for Steven Kastrissios.
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Fantastic Planet Film Festival’s top honour, “Best Film”, was won by the terrifying yet deeply moving post-apocalyptic thriller HOSTILE. The film’s French director, Mathieu Turi also won the award for “Best Director”, which, in a split jury decision, was shared with Uganda’s Nabwana I.G.G., director of the hilarious action adventure, and international festival hit BAD BLACK. While the fest’s “Independent Spirit Award” was captured by the high-octane thrill-ride SIXTY MINUTES TO MIDNIGHT. Robert Nolan, the film’s lead, and one of the brightest lights in Canada’s vibrant acting scene, took the “Best Male Performance” award in a unanimous jury decision.

A Night of Horror’s “Best Short Film” was awarded to the pulse-charging survival horror LEVEL. The festival’s “Best Animated Short Film” award was won by the brutal French anime FIERCE. While atmospheric and masterful SOUND FROM THE DEEP from Finland won “Best Lovecraft Short Film”. The audience choice award for “Best Australian Short Film” went to the chill-inducing I’M SORRY MUMMY. And “Best Music Video” was awarded to the twisted MUUY BIIEN – MORAL COMPASS from director Benjamin Roberds. The festival’s inaugural “Best Web or TV Content” was taken by the nightmarish US short STEREOSCOPE. And the fest’s “Independent Spirit Award” for a short film went to the shocking and bloody Canadian short STUDDED NIGHTMARE.

Fantastic Planet’s “Best Short Film” was taken by the Spanish techno-terror thriller iMEDIUM. While “Best Animated Short Film” was won by the enchanting CORKY from the USA. Audience choice award for “Best Australian Short Film” went to the hilarious social satire DIRT TIN. The winner of “Best Music Video” was director Kim Pommel’s visually captivating A LOVE LIKE PI – JACK AND THE GIANT. The Finnish time-spanning sci-fi web series END UNSUNG won “Best Web or TV Content”. And Fantastic Planet’s “Independent Spirit Award” for a short film was awarded to the twisting sci-fi thriller REM from New Zealand’s April Phillips.

Both festivals also host screenplay competitions. The winner of A Night of Horror’s feature screenplay competition was FRIDAY NIGHT FRENZY by Richard Stringham. The competition’s 1st runner-up was Neil Chase’s DEAD STRAYS. The 2nd runner-up was CLARITY by Ariana Kenny. A Night of Horror’s short screenplay winner was LOST MAN by Guy Harvey. That competition’s 1st runner-up was Noah Pfister’s ROADKILL. And the second runner-up was CANNIBAL MOTHER by Jacob Schefer.

The winner of Fantastic Planet’s feature screenplay competition was TRANSCARLET by James Ross. The 1st runner-up was STORMCATCHERS by Mike Donald. Ana Ziegle Loes’ F7/F2 captured the 2nd-runner up spot. Fantastic Planet’s short screenplay competition was won by Daniel Earney and Dio Traverso’s JACK RABBIT. While AN IRON SHELL OF RITUAL by Jeff Racho took the competitions 1st runner-up spot. And the competition’s 2nd runner-up was THE INFINITE AND THE DIVINE by Krystyna Łoboda and Derek Weissbein.

And congratulations to Dee Wallace for winning “Best Female Performance” at Fantastic Planet Film Festival for her role in AYLA.

For more information visit: www.anightofhorror.com