Monthly Archives: September 2022

Retrospective: The Abominable Snowman (1957)

25 Sunday Sep 2022

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Hammer Films trio of features to be released in 1957 would be complete with The Abominable Snowman. The heightened success of The Curse of Frankenstein and Quatermass 2 had made people sit up and take notice of this British film production company. TAS would see Director Val Guest team up again with one of his lead stars Peter Cushing, a formula that would be successful for this fictionalised expedition in search of the snow dwelling yeti. 

Nigel Kneale would once again take on writing duties that would pen Cushing as botanist John Rollason who agrees to join the party led by Tom Friend (Forrest Tucker), only to discover that the true intentions behind the enterprise is to capture the ape-like creature for commercial gain. 

The group are attacked by a yeti one night but one of the trappers is able to kill it, and in turn they try to use the creature to lure others of its kind to them. All of this goes against Rollasons’ moral integrity and he soon comes to believe that the yeti may indeed be of vastly greater intelligence to humankind. It is possible that they are hibernating in the mountains, waiting for humanity to reach its natural decline, before taking over as our planet’s chief primate.
The narrative will now see a turn of the tables, and the expedition must try to survive their ordeal before the terrain or the yeti’s bring about their ruin.

For a feature set in the vast open spaces through sets created by Bernard Robinson based on existing photos of shots taken in the French Pyrenees and built in the now famous Pinewood Studios, there is enough eeriness conveyed. This despite the lack of fear from the little seen yetis. It’s a strong movie with a decent plot that deserves more attention and a chance to rise out of the shadows left by The Curse of Frankenstein. The next horror feature to be released would forever cement Hammer Films’ place in the genre movie scene…

  • Saul Muerte

Retrospective: Quatermass 2 (1957)

24 Saturday Sep 2022

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Hammer Films swift follow up feature to The Curse of Frankenstein released in the same month of 1957 would be a sequel to the previously successful The Quatermass Xperiment. Continuing with the exploits and investigations of Professor Bernard Quatermass, this time around would see the brash scientist look into the strange goings on at Winnerden Flats following a high amount of meteorite falls. What he uncovers though is a lethal toxin being experimented on and an alien infiltration that could lead to disastrous consequences for the human race.

Based on the BBC production, this time around screenwriter Nigel Kneale would oversee writing duties for the feature but much to his chagrin would see American actor Brian Donlevy take on the lead role for the second time. Kneale was much aggrieved that Quatermass was portrayed by an American, a man very much considered to be British, but also by a man that he would describe as…

a bully whose emotional range ran from annoyance to fury

Marcus Hearn & Alan Barnes – The Hammer Story: The Authorised  of Hammer Films.

It doesn’t help that Donlevy was allegedly on the sauce throughout filming and apparently read off what is commonly known as idiot boards to recite his lines.

The film itself feels remarkably different from its predecessor, tapping into a more action, thriller style of exposition and one that in my opinion, goes against the grain of my high-held expectations. In this instance, I identify with Kneale’s plight about the casting of Quatermass, and find little to connect to, but admittedly I may be being biassed, as I much prefer Andrew Keir’s take in follow up Hammer film, Quatermass and the Pit.

Val Guest however does cut a fine take as director to the government, alien conspiracy flick, tying into the paranoia surrounding a post-war paranoia. It’s the beating heart of the feature and one that led some to believe that it was ahead of its time.

  • Saul Muerte

Movie review: Raven’s Hollow (2022)

22 Thursday Sep 2022

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For the first 20 minutes Raven’s Hollow falls dangerously into made for tv territory, but not in a high standard way. Then it shifts into something that is something of note. Yes, the standard isn’t high and the CGI suffers a little, but beneath the surface is an interesting concept with solid performances to support this idea.

The fictionalised account of writer, poet Edgar Allan Poe’s military career as he leads a quartet of cadets through upstate New York when they encounter an isolated  community harbouring a  paganistic secret. These visions and events will eventually inspire his writing profession down the track. 

Poe (William Moseley – The Chronicles of Narnia) and the cadets are drawn to the strange titular town when they find a man that appears to have been sacrificed by some occult. Cue lots of witchery, cult-like behaviour, combined with a raven-like creature that appears to have a strong hold over the settlement.

Poe soon takes on an investigative role to uncover the truth about the mysterious happenings of Raven’s Hollow and in doing so, ignites the narrative a little, drawing the audience in. 

The array of townsfolk on display from the talents of Melanie Zanetti, David Hayman, and Kate Dickie add strength to the mix and along with it, an air of mystery that surrounds them. 

As the bodies start to pile up, so does the pressure to solve the case and end the curse.

The Prognosis:

The premise is enough of a hook for a movie which admittedly suffers under a shaky execution. This is more down to budget restraints though than poor production. The story holds true with enough twists and turns, supported by an able cast that bring about intrigue and supernatural elements to tie you to the story’s end.

  • Saul Muerte

Raven’s Hollow is currently streaming on Shudder.  

Movie review: Shapeless (2022)

22 Thursday Sep 2022

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Shapeless is a movie that strides to tackle an important and quintessential topic in society and tell that tale through a horror narrative. The subject is eating disorders and the physical and psychological impact it has on a person.

Our focus is through protagonist Ivy (Kelly Murtagh – Bingo Hell), a singer in the underground New Orleans scene. The pressures of keeping on track with her day job and juggling this with her passion starts to take its toll and Ivy starts to turn inward, focusing on her image and emotional attachment to achieving the ‘perfect’ lifestyle.

It’s clear that the topic is something that Director Samantha Aldana feels close to and pays due time and attention that it deserves. This tied in with Murtagh’s writing attributes equal ties in with the dedication that she has to showing her take on the theme.

The visuals provided by cinematographer Natalie Kingston (The Wolf of Snow Hollow) are also stunning and effective to project the ambience and tone throughout the film.
The issue is that there is a lot of marinating going on with little effect or substance to keep the audience hooked, and as a result, we’re left wilting as a result.

The Prognosis:

While this isn’t an out and out horror, the real life issue that plays centre stage is given due attention. Eating disorders are often left out of the popular conversation and thought of as taboo, so it is a testament to both Aldana and Murtagh to produce a film that takes this on and brings to the fore. What it lacks though is enough validity for it to have a grounding impact. Some more time and attention on this would have made a solid movie, instead it stills a little in mediocre-ville.

  • Saul Muerte

Shapeless is currently available on VOD (Google TV, Apple TV and Microsoft Store).

Retrospective: The Curse Of Frankenstein (1957)

17 Saturday Sep 2022

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For me, The Curse of Frankenstein would mark the official change of the guard in horror films from Universal to Hammer. Not only did it revamp the now stagnant monster franchise, but propelled a new identity in the Gothic scene thanks to the vision of its director Terence Fisher; its two leads Peter Cushing in stoic form as the titular Baron Frankenstein and the heavily made up Sir Christopher Lee as the creature; but also the X factor charged with and championed by the films’ producers, setting a tone that would be replicated for another couple of decades to come. It also would have in its company writer Jimmy Sangster and composer James Bernard, who would both be part of Hammer’s signature. Above all else though, it would be Hammer’s first colour creature feature; one that would highlight all the blood, gore, and extravagant costumes with a vibrancy not seen on the big screen before.

Cushing and Lee would also prove to be a formidable duo before the camera for Hammer, for another 7 times with varying degrees of success. Lee would have to endure two to three hours in the makeup chair as Phil Leakey crafted the final, repulsive look from mortician’s wax, cotton wool, and rubber. The look deliberately steered away from Universal’ previous incarnation due to legal rights, allowing Hammer to present a unique spin on Mary Shelley’s classic tale. 

The narrative is told in flashbacks as Baron Frankenstein awaits a trip to the gallows,  but never wavers from his pursuit of achieving and creating life beyond the grave. What is starkly different from its predecessor is the cold and meticulous manner that Frankenstein’s actions are driven to in order to attain his goal. It is this characterisation and Cushing’s portrayal that offers a darkly disturbing version and one that is explored further throughout the various instalments that follow, most notably Frankenstein Must Be Destroyed which Cushing and fellow star Veronica Carlson believed crossed the boundaries of good taste.

The British press would initially turn up their noses to Hammer’s adaptation, with a general feel that it was purely for sadists. Both the British and American public would lap it up, which may or may not say something about our society. Regardless, it was enough of a reaction that was considered huge for its time that it would cement the foundations for Hammer Films and pave the way for their success to follow. It would also spawn a cult following and be an inspiration for many filmmakers to come. 

  • Saul Muerte

Movie review: Goodnight Mommy (2022)

15 Thursday Sep 2022

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Horror cinephiles would be deeply aware of the Austrian psychological trauma film released back in 2014 that made a significant impact on the genre. For those not in the know on why such a ripple was made, it’s hard to discuss without talking about the specific shift in narrative, that puts a completely different spin on our initial perception. It is this combined with the unsettling tension imbued throughout that resonates after viewing and lifts it out of the quagmire of predictability.

So in the throes of continuing remakes of European films that have struck a chord in the outer ridges of the popular mainstream, Goodnight Mommy gets its own turn in the limelight. 

Charged with carrying out this vision is Director Matt Sobel who also has the luxury of Naomi Watts as his lead. Apparently this is her 9th film which is a remake. I’ll have to cross check that one though as I can only think of The Ring off the tip of my head.

What I can say about Goodnight Mommy though is that the film centres on two twins, Elias and Lucas (Cameron and Nicholas Crovettii) who return back to their mothers care. At this stage it is not known why they have been absent but there’s enough uncertainty there to instil a sense of doubt about their mother and one the audience harbours along with them. It doesn’t help that their mother is predominantly masked due to recovering from surgery. A haunting image that evokes fear, tantalising playing with our emotional responses to the situation as it unfolds.  The mystery and mounting tension escalates to the point of desperation to seek the truth about what happened but Elias and Lucas’ pursuit will come at a price. 

The Prognosis:

It treads a similar line to the original but utilises all of its strengths to provide a decent psychological flick. Naomi Watts is particularly solid, playing a convoluted mother with juxtaposing positions, swinging between neglectful and cold, with loving and protective.

The dalliance of drifting towards the unknown and being fearful of the truth is pitched well from beginning to end, delivering a well paced story, playing with perspectives from all sides.

  • Saul Muerte

Goodnight Mommy is currently streaming on Amazon Prime.

Movie review Saloum (2022)

11 Sunday Sep 2022

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Hats off to Shudder in building a platform that showcases the global lens of the horror genre. With The Sadness; On The 3rd Day; Good Madam; and Moloch all depicting a wide variety of voices to vent their individual plights. The latest offering on the Exclusive and Original platform , Saloum sets the scene predominantly in the East African countries of Senegal, Sierra Leone, and Guinea Bissau. 

The story itself centres on a trio of legendary mercenaries known as the Bangui Hyenas – Chaka, Rafa, and Midnight. The symbolism of the number three holds strong throughout human history, bringing harmony, wisdom and understanding together. United the Bangui Hyenas present a strong front, and must lay low after extracting a drug lord out of the country. It is the breaking of the three that presents their greatest plight however, when it is revealed that Chaka harbours a secret of his own, that may or may not bring them to ruin. One that ties in with the mysticism that surrounds their choice of sanctuary; and will unleash an entity that will consume all in its path.

The Prognosis:

There is a lot to get your head around in this flick from Director Jean Luc Herbuot, as he switches up genres with the same pace that he enacts his vision. The frenetic energy combined with the beautiful landscape shots lie in contrast to the dark residual energy that lies beneath the surface; one that fuels the East African history and sees the mercenaries carrying the mental and physical scars that their land has ingrained in them through the past, present and possible future, 

The weight is certainly felt, but not to the detriment of the narrative. With strong performances from all the cast, Saloum both lulls you into a sense of calm whilst ripping you up through its core as the turmoil is unshackled, so that the healing can begin.

  • Saul Muerte

Saloum is currently screening on Shudder ANZ.

Retrospective: The Incredible Shrinking Man (1957)

11 Sunday Sep 2022

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1957 would turn out to be one last hurrah for Universal (for the time being at least) as they produced a number of movies that year. Some were better than others and I would name The Incredible Shrinking Man as one of their more successful outlets, looking back at it for the Surgeons of Horror retrospectives.

Part of this appeal, I believe, is down to the penmanship of Richard Matheson, who would go on to write I Am Legend; A Stir of Echoes; and Hell House, to name but a few. TISM would be his first venture into  screenwriting duties, and as such, would share the screenplay credits with Richard Alan Simmons; a gun for hire at the time.

Jack Arnold would once again take on directing duties, being called upon to repeat his scifi horror genre flicks success bearing the Universal name: It Came From Outer Space; Creature From The Black Lagoon; Revenge of the Creature; This Island Earth; and Tarantula!

The latter would prove to have its merits as once again our protagonist would come up against a giant from which to defed himself. 

Our protagonist in question is Scott (Grant Williams) who is coated one day in a mysterious mist; a macguffin for the film and serves as the agent of Scott’s mysterious shrinking. At first, it’s the small things, such as his waist size, and losing a few inches of height which he notices when standing next to his wife, Louise (Randy Stuart). Over time things get steadily worse, and Scott becomes smaller and smaller, at one stage living in a doll house and fighting off the house cat, before being swept away down the basement and presumed to be dead.

The smarts behind this feature come from the psychological trauma that this has on Scott and to some degree Louise. Scott battles constantly trying to deal with his bizarre affliction, even straying away from Louise at one point when he meets a ‘circus freak’, Clarice (April Kent), who has dwarfism, seeking solace in someone who may understand him. His ailment continues however and he must once again face up to his torment and try to make peace with his woes. It is this rather gloomy aspect to the film that would hang heavy on cinema goers at the time, but one that smacks of a realistic portrayal of the ‘what ifs?’ Scenario that is presented. I am often drawn to movies that leave you feeling disconnected and a star reminder of how small we are in the grand scheme of things, and TISM is the epitome of this example and why I believe it ironically stands head and shoulders above its equivalent features of the late 50s. 

It certainly heralds an impact worthy enough to hold discussions about a potential remake. John Landis himself had one in production which unfortunately didn’t manage to see the light of day. 

Its resonance is still strongly felt though in the genre community and I wouldn’t be surprised to see something of similar ilk come about eventually. 

Unlike Scott, the film is unlikely to disappear into uncertainty, especially among film scholars and science fiction lovers.

  • Saul Muerte

Movie review: The Retaliators (2022)

08 Thursday Sep 2022

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In The Retaliators, Directors Samuel Gonzalez Jr, Michael Lombardi (who also stars), and Bridget Smith paint a world consumed with hatred, where all the characters are intoxified by fear, rage, and an array of negative emotions.
Its one bastion of hope comes in the form of the local pastor (Lombardi), a man who is continuously put to the test throughout the film to push his character to the limits of his saintly demeanour.
His world already squashed in this unforgiving landscape, living as a single parent, raising two daughters and hanging onto lifes thin line, becomes further frayed when his eldest daughter, Sarah (Katie Kelly) is brutally killed by one of humanity’s epitome of sin, Ram Kady (Joseph Gatt).

As the trailer teases, what would you do when posed with the option to spend one minute with your daughters’ killer? How far across the line of transgression would you be willing to take yourself in the name of vengeance? And how will this affect your own character or sense of morale, when you do choose to take this path? Our pastor is presented with just this kind of opportunity by brow-beaten and world-weary detective Jed (Marc Menchaca) and with it a wake of carnage and mayhem ensues.

The Prognosis:

Despite its vengeful premise, The Retaliators is a pot-boiler of a movie, allowing time for our protagonist to go through the wringer of emotions, building up his character in a tormented world before unleashing his full fury at this demented place. Quite rightfully, this allows the audience to seep into the purification of the setting and forces us to identify with the protagonist’s plight before embellishing in the justification of his actions. The turmoil is angst-ridden and repeatedly questions the merits of a good man, one who is without sin, when choosing to cast the first sinful stone in the name of revenge. Is the ‘Eye for an eye’ token grounds for vindication when the world is filled with sin and the deprecation of sinners?

This is a great conundrum to set the tone of the film, and when the fury is unleashed, the audience (who in no doubt have come to witness the carnage) are gifted with their own cathartic release. It helps that the soundtrack is seriously kick ass, fueling all these emotions in a bottleneck of rock from the genre’s key players.

  • Saul Muerte

The Retaliators is screening in cinemas nationally on the 14th and 16th September 2022 with a streaming release from the 21st October 2022.

Movie review: The Invitation (2022)

07 Wednesday Sep 2022

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The lure of Dracula entices moviegoers to the cineplex once more with this latest adaptation of Bram Stoker’s tale. This time the setting has a modern approach with the idea that the notorious nosferatu has been living all this time and set up his abode in new Carfax Abbey.
The wheels that turn in order to pull us into the narrative are a little slow and cumbersome, placing our focus on orphan,  Evie Jackson (Nathalie Emmanuel) who resides in New York, struggling to make ends meet in the catering business, when she receives the result of a DNA test through a new software programme. This leads to a connection with an estranged cousin and his family who live in England, and the promise of another life with wealth and romance to entice her further into their world. So Evie and her streetwise ways land her in prominent society into the path of Walter De Ville (Thomas Doherty), the charismatic lord of the manor. Behind the visage though is something more sinister with old world rules at play.

Australian director, Jessica M. Thompson does well to craft this new vision of an age-old Gothic tale for her sophomore feature length outing, but it has to be said that the writing is clumsy and falls prey to cliches all too often. There are bold attempts at providing this fresh spin, but in doing so, there are choices made that leave one groaning in response. Perhaps I am showing my age, but The Invitation succumbs to modern trappings, where some of the details and depth are glossed over for the sake of image, but this comes at the destruction of the story’s essence. As such, one is more likely to fall into a sense of lull as we are guided through each of the steps towards the film’s climax.

The ending even feels a little mismatched too, as if trying to force a potential franchise out of this. The way it is handled makes no sense whatsoever. If it were not for Emmanuel’s performance, who is once again showing that she is a force to reckon with on screen and more than deserves the lead status here, this film would be positively dormant with no hope of resurrection throughout. 

The Prognosis:

The Invitation is a bold attempt at reinventing an old tale for a modern audience. Its delivery however leaves you wanting, missing the mark on numerous occasions. Nathalie Emmmanuel shines in an otherwise lacklustre narrative that rests too easily on its laurels, failing to drive the direction into a riveting new place.

  • Saul Muerte