Monthly Archives: October 2020

Movie review: Alone (2020)

31 Saturday Oct 2020

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Based on the Swedish thriller Försvunnen released in 2011; a film that was decent enough but lost in the inertia of the Nordic Noir phenomenon.

Here director John Hyams (Z Nation) attempts to add an American touch to the psychopathic stalker road trip movie in which he pushes his two lead performers to draw on all facets of his emotions.

Jules Wilcox (Teen Wolf, Bloodline) who plays Jessica, a woman who we learn has tragically lost her husband who took his own life. Pained by the memories of what transpired, Jessica packs up her belongings and leaves in her car and a rented hangar to start a new life. Only travelling alone across the Pacific Northwest she encounters a lone predator (Marc Menchaca – Ozark, Homeland) and from here on in we’re treated to a cat and mouse hunt that starts off as a nod to Steven Spielberg’s Duel and then shifts into a escape from imprisonment and a fight for survival in the midst of the vast, temperate rainforest. 

Alone does struggle at times to shift through the gears between each plight that Jessica has to endure and the initial encounter with her stalker is a little lacking. If I’m completely honest, there’s no real indication of what lures our antagonist into Jessica’s path, but once ensnared the lack of motive is all the more sinister as the film draws on. 

When the film hits its stride, the terror and turmoil is positively cruising and delightfully amps up the tension with equal measure. And we’ve nor even mentioned the delight in seeing Anthony Heald (The Silence of the Lambs) on screen. Always a pleasure to see.
In addition, I’d like to applaud the sound department who play delicately with one of cinema’s greatest senses to add to the ambience and fuel the fire of our growing trepidations.

The prognosis:

This film requires patience. It may have a slow and faltering start, but once the motor starts running, the tension heightens and we steered through a grueling and entertaining fight for survival that leads to a strong and effective conclusion.

  • Saul Muerte

Available to rent now via FOXTEL & FETCH
*Also screening at Ritz Cinemas, Randwick (NSW) & 5 Star Cinemas New Farm (Qld) from October 29

Movie Review: Camp Twilight

31 Saturday Oct 2020

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Felissa Rose came to fame in the cult classic, Sleepaway Camp and in some horror genre circles is considered an icon, which she humbly shakes off this term of endearment, but is quick to recognise how much the 80s slasher has impacted her life.

Now fans of Rose will be pleased to know that she is to star in a new feature film, Camp Twilight streaming on digital platforms from November. 

Much like the film that propelled her into the limelight, this latest feature sees a group of teenagers sent to a summer camp where someone lurks in wait to kill them one by one.

Said teenagers are a sextet of delinquents that are told by their teacher and principal that they must attend or fear failing school, little knowing that a greater fear awaits them.

While Camp Twilight is low budget, (this is both its challenge and its charm) its flaws slowly ebb away and allow its personality to shine through.
This is enhanced by some of the recognisable genre actors that support the key players along the way, from Dave Sheridan (Scary Movie) as one of the bumbling rangers, to Linnea Quigley (Return of the Living Dead), Vernon Wells (Commando) and Camille Keaton (I Spit on Your Grave).

Let’s not forget Rose, who steals the show as the slightly eccentric school teacher, Jessica Bloom, who at times feels like Rose is channeling Aunt Martha from Sleepaway Camp, her character’s name supposedly a nod to Joe Bob Briggs. 

This is not to say that the teens in question don’t hold their own on screen when it matters, but let’s face it.
We’re just keen to see them meet their comeuppance, which plays out as a whodunnit, genuinely keeping the audience guessing as to who is behind the murders at the park with a notorious history.

The Prognosis: 

Camp Twilight doesn’t shy away from its flaws but embraces them and in doing so let’s the audience enjoy the ride.
One that is clearly being carried out by its cast members and takes you on a fun journey to a slightly convoluted conclusion.

  • Saul Muerte

Felissa Rose interview

Felissa Rose as Jessica Bloom in Camp Twilight

Movie Review: Spree

15 Thursday Oct 2020

Posted by in Movie review, Rialto Distribution, umbrella entertainment

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Spree is one of those rare treats that will surprise you.
Admittedly I went into watching this film with low expectations and unfairly dismissing it for yet another commentary on the negative impact of social media.

What was presented however can be closely associated with both Taxi Driver and American Psycho as its inspiration. The former is that Eugene Kotlyarenko plays similar beats to the Martin Scorsese classic, and the later for its satirical take on the human psyche. 

Where Kotlyarenko injects his own gaze into the public spectrum is through his offbeat humour and attention to detail in presenting a gonzo-infused view of social influencers on platforms such as YouTube, Instagram, and TikTok. Both director and his lead, Joe Keery (Stranger Things) researched these areas to encapsulate the personality that his character Kurt Kunkle portrays.
Profiled as 23 year old in search of infamy through his social platform who will stop at nothing to reach notoriety, Keery demonstrates a believably unhinged individual, a testament to his acting abilities and the level of attention taken into bringing his character to life. 

Fueled by this desire, Kurt rigs up his car with cameras and signs up for a rideshare app called Spree, where he then ventures out in his shortcut to the warped American Dream by picking up would-be victims. At first, we encourage his maniac exploits as the victims of choice are suitable ugly characters that arguably warrant their fate, but the more disturbed Kurt becomes in attaining his goal, the more chaotic and wild his antics become.
Kotlyarenko’s storyline choices are further cemented with the introduction of fellow social climber, comedian Jessie Adams played by a magnificent Sasheer Zamata (Saturday Night Live) juxtaposing Kurt’s own ascent with a seemingly genuine rise of her own. When Jessie comes across Kurt’s radar, his jealousy boils over and she becomes his new target and in doing so, furnishes the film with a riveting climax.

The film also boasts strong support roles in David Arquette (Scream franchise) as deadbeat dad Kris, Kyle Mooney, Mischa Barton, and John DeLuca. Where it does fall short is that initial trigger point that sends Kurt over the edge, plus it lags in the middle act as it struggles to build up momentum and hold the audience’s interests through the leads indecisive phase in his social lesson. 

The Prognosis:

In the words of gonzo journalism creator, Hunter S. Thompson, “Buy The Ticket, Take The Ride”.

It’s a modern take into the current state of The American Dream through the eyes of a wannabe social influencer on a murderous rampage.
There is much to delight in this gut-wrenching flight of fancy, highlighting just how deranged modern society has become.

  • Saul Muerte

Spree is currently screening at select cinemas and available on PVOD with Foxtel and Fetch until November 11.

It will also be released on digital: iTunes, Youtube Movies, Fetch, Microsoft Store, Google Play from November 25.

Movie review: Antebellum

15 Thursday Oct 2020

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There was a lot of promise behind this film from the producers of Get Out and Us, but unfortunately it lacks the vision of those films’ creator Jordan Peele.

Instead we’re offered some admittedly stunning and shocking images of America’s slavery past and how it coincides with the current state of affairs from the supposed land of opportunity.

Both of these world’s alone resonate deeply the physical pains of the past and how the mental scars are still very much in the present. The problem in the narratives depiction comes with the marrying of these two worlds through the eyes of the film’s protagonist played by an incredible Janelle Monae. One can not fault her performance as she clearly pushes her every ounce of emotion and deserves praise for this alone. It’s just a shame that this is overshadowed by the clunkiness of the film’s exposition.

The premise presented to the audience is that Monae plays a modern African American woman, Veronica, trapped in a 19th century slave plantation run by the Confederate States Army. Straight away the audience has to endure the stark brutality and the tight reins that are forced upon the slaves who must not speak unless spoken to and any signs of “misbehaviour” could lead to a fatal outcome of the slaves do not tow the line.

As the story unfolds, the audience soon starts to question how the premise fits into the overall story arc. Is Veronica trapped in a time warp or God forbid, are we about to embark on M. Night Shyamalan The Village venture?

Unfortunately the story centres strangely towards the latter and by the time the reveal occurs, we no longer care and a little rushed to a conclusion that all too neatly into this declaration, which is probably the most horrific thing about the movie. By coming out with such strong imagery, the storyteller is left with not much left to shock its audience and we’re left playing the guessing game and neglecting the core message at hand.

Hats off to the support performance of Gabourey Sidibe who steals every scene she is in. I wish more could be said for Jack Huston and Jena Malone, who are equally proficient actors but grossly underused in this instance.

The Prognosis:

A mismatch of style and substance combined with a weak fusion of the obvious similarities between past and present allows the key message to feel too heavily handled and lost in the complexities of what should have been a very straight forward premise.

Based on Monae’s acting alone though, she should have no qualms about her future and promises to continue to deliver some more powerhouse performances.

  • Saul Muerte

Movie review: The Curse of Audrey Earnshaw

03 Saturday Oct 2020

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The Curse of Audrey Earnshaw is embedded in folklore horror, with a fractured community already outsiders from the common world striving to live the lives of good Protestants and reap the land and prosper.
The seed of doubt is always prominent however and amplified when the crops begin to fail during harvest season, all except the land at the Earnshaw family.
As the villagers predicament grows increasingly dire, panic soon sets in and escalates to a pandemic state, something that director Thomas Robert Lee didn’t initially intend to resonate so deeply with his audience but certainly reflects the mindset of the modern world at large.

The kernel of the town’s plight stems from a particular eclipse that occurred 17 years ago and coincides with the birth of the titular Audrey Earnshaw. What is it about this strange child? Who was the father? And what pact did her mother Agatha make in order to flourish so greatly in her crop production? 

The ingredients are all there to provoke the fear and trepidation in the heart of the most stolic of people with the practice of occultism in the soul. When the wind blows foul, it destroys the mentality of those that come into contact with the Earnshaw’s execution.

All of which can only be produced with the masterful direction of Robert Lee and the strength of the performances from its cast.
Notable standouts for me came from the matriarchal Agatha Earnshaw played by Catherine Walker (A Dark Song) who has clearly made some dubious choices but is slowly becoming engulfed by her equally enigmatic daughter, Audrey (newcomer Jessica Reynolds).
Likewise some of the village folk draw the audience’s gaze through the deeply troubled Bridget Dwyer (Hannah Emily Anderson, who is amazing in her portrayal and fluctuations of emotions that her character has to traverse throughout the films’ narrative); the steadfast husband Colm Dwyer (Jared Abrahamson) whose faith is probably tested the most; and the instantly recognisable Seamus Dwyer (Sean McGinley) as the patriarchal member of the community and never fails to deliver a solid performance. 

The Prognosis:

It’s a slow burn which allows the fear to sink deep into the recesses of the villagers minds. 

The strong performances definitely resonate and help to deliver Thomas Robert Lee’s vision and the cinematography captures the beautiful landscape on scene. 

If there is a flaw to be found is that the focus is so intense that it can become overwhelming with the way it’s directed.

At times the pace is painfully slow and the emotions are slowly pulled through the mangler that every ounce and weight of the characters’ turmoil is felt to the detriment of the audience who have to endure this burden until the films’ conclusion.

The Curse of Audrey Earnshaw is currently screening in selected theatres and will be released on VOD and Digital on Oct 6th 2020.

  • Saul Muerte