Monthly Archives: March 2024

Movie Review: The Exorcists (2024)

27 Wednesday Mar 2024

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When The Exorcist: Believer was released by David Gordon Green courtesy of Blumhouse Productions it intended to ride the coattails of one of the greatest horror films of all-time for a modern audience, but go “bigger”. This proposal would include two possessed kids but furthermore, three exorcists of differing backgrounds to take on the demon at hand. Needless to say, it bombed.

Now comes The Exorcists which too arcs back towards William Friedkins’ iconic feature and tries to go bigger with a trio of exorcist experts, the elite of their field, brought together by a father who needs their help to purge his daughter of the demon that has consumed her. 

What the exorcists uncover though is a far darker entity lurking beneath the female frame which it currently hosts. To add some more supposed weight to the mix, there’s even a quartet of kids that have broken into the mausoleum to awaken the dead through a spiritual seance. This decision would also lead them on a dangerous path that would weave with the exorcists’ plight. With the ante dialled up to 666, the trio of exorcists must now unite along with Doctor Olivia Beckett (Kayla Fields) and Sister Caroline (Denise Duff) to oust the demon, but they may not last their ordeal.

The Prognosis:

The Exorcists struggles to gain any momentum in its search for an identity. This is all the more evident when tied to the shackles of its inspiration. The grip is loose and the details are equally left to drift without any real focus other than to keep on coasting on a lacklustre cleansing. Its saving grace is casting Doug Bradley aka Pinhead from the Hellraiser franchise as the wisened Father Patrick Ryland, who is compelled to help one last time and amend the past from a failed exorcism. As great as Bradley is, he can only be as good as his counterparts and the script to support his talent, both of which fail him. Instead we must settle on his deliverance and pray for the ending to come.

  • Saul Muerte

Movie Review: Winnie the Pooh: Blood and Honey 2

27 Wednesday Mar 2024

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One of the most hyped movies of 2023 came in Rhys Frake-Waterfield’s horror re-imagining of the classic children’s story Winnie The Pooh by A.A. Milne. This quite frankly butchered take would see the beloved honey loving bear join his friend Piglet on a bloody rampage through Hundred Acre Wood having been abandoned by Christopher Robin all these years and turning feral with extreme consequences. Despite the buzz, the film was critically panned receiving five Golden Raspberry Awards including Worst Picture. This did not stave off the masses though who were swarmed up by their own curiosity to see this version, making a significant profit, do much so that not only has a sequel been released but the promise of a universe of warped retelling of classic children’s tales has been thrown into the mix entitled Poohniverse. Already there has been titles such as Bambi: The Reckoning; Peter Pan’s Neverland Nightmare; and Pinocchio: Unstrung.

So what of the sequel?

Winnie The Pooh: Blood and Honey 2 was promised to be a crazier, more extreme take with a bigger budget to ramp up his vision.

One of the smarter decisions was to replace the actor Nikolai Leon with Scott Chambers (who recently impressed in Hammer’s Doctor Jekyll) as Christopher Robin bringing a lot more weight and vulnerability to the role.

If I have understood things correctly too, there’s a slight meta shift in perspective where although the events in the first film were true, it  is presented as a film within a film for the sequel here which picks up in the aftermath of that films success and the impact it is having on Christopher Robin’s social life. The people of Ashdown have turned against him and believe that he was responsible for the Hundred Acre Wood Massacre. Like Pooh, he has been ostracised from society and struggles to hold down a job as a result. He does however have a girlfriend, Lexy (Tallulah Evans) who willingly stands by his side throughout, and devout parents who share the burden of his struggles. What does come out in the tale is the disappearance of his brother some years ago which serves as a backdrop to his psychological breakdown and questionable character which added a little more depth to the proceedings.

And then there’s the neglected Pooh, who having lost his friend Piglet in the last movie, is joined by Tigger, a frenzied and wild beast; and deviously maliciously wise Owl who is the brains of the macabre outfit (another descent change from the predecessor). The trio have also been impacted by the first films release and are being hunted as a result. They want to seek revenge and destroy the citizens of Ashdown and embark on a bloody rampage.

The Prognosis:

It’s bigger, bloodier and unhinged as Frake-Waterfield endeavours to expand upon and lift the lid on his newfound success. In some ways its smarter too with its directorial choices but too often we’re left in swampy territory as the storyline trudges along. It’s almost like the score composer realises this too, delivering anarchic, pulsating sounds whenever Pooh and the gang go on atrack, as though to wake the audience out of their slumber.

Bigger does not necessarily mean better, as the movie still rests on the premise of the bloody re-imagining without focusing on the bones in which to form a descent structure.

– Saul Muerte

Movie Review: Control (2024)

25 Monday Mar 2024

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The subject of control from which this film holds its name is one certainly set for scrutiny. What happens when control is taken away from us? Can the shift of balance be pulled back in our favour when all hope seems lost?

This is the dilemma that British Home Secretary Stella Simons (Lauren Metcalfe) faces when she steps into a self-driving car to escort the Prime Minister’s daughter home, only for it to be hijacked by a mysterious assailant (Kevin Spacey) who is calling all the shots and seems to know everything about her.

It’s the type of story that has been told before, with our protagonist held against their will and directed by a human voice, such as Phone Booth and Buried, or even more so in comparison to Haritz Zubillaga’s feature The Glass Coffin starring Paola Bontempi. In the latter’s case it is done remarkably well, primarily due to Bontempi’s captivating performance. Unfortunately, this can’t be said about Metcalfe’s portrayal, which is significantly underwhelming. It’s a hard task to carry a movie at the best of times, something that she struggles with throughout, but it’s emphasised more so by the voice on the other end belongs to someone of high calibre, Kevin Spacey.

And there’s the elephant in the room of course when it comes to Kevin Spacey, who was at the height of his profession and sexual misconduct allegations that have surrounded him. There’s no doubt about the extent of Spacey’s talent as an actor, but his name will forever be marred by the indictments that were laid against him. So when it comes to Control, the lines between fiction and reality are blurred, especially when it comes to Spacey’s character who at one point blazes at the lack of direction and support against the British Government after spending most of his life working there. It is this murky area that unfortunately takes you out of the picture. It is clearly an area close to home and his need to proclaim his innocence and get back to doing what he does best is on show here, albeit an incorporeal one. In spite of this, Spacey is still the best thing about this movie, by a country mile. His presence and intonations, no matter how slight, lift off the screen and provide what feels like some meaning to what is essentially a pointless enterprise by all else involved.

The Prognosis:

Spacey headlines this feature for good reason. He is the only decent thing about it. His charisma is one that can elevate any script, but as he only provides the voice to the antagonist, the rest of the movie relies on that of his counterpart. This is part of Control’s downfall along with a tired and predictable plot that has you envying the Prime Minister’s daughter who remains passed out in the back seat of the car for the majority of its running time.

  • Saul Muerte

Control is available to available to watch on home entertainment from April 2024 thanks to Eagle Entertainment.

Movie Review: Immaculate (2024)

25 Monday Mar 2024

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When Director Michael Mohan was asked to collaborate with rising star Sydney Sweeney to make a horror film, he wanted to ensure that it not only suited Sweeney’s status but also to make a movie that was ‘genuinely terrifying”. It’s clear as the story unfolds that Mohan is inspired by other high profile psychological, religious horrors by significant auteurs of the field such as Friedkin, Kubrick and Polanski. The latter of which is abundantly clear with whispers of Rosemary’s Baby trickling throughout, but instead of a New York apartment, we’re presented with a remote convent with an Italian countryside backdrop to lay the scene.

When Cecilia (Sweeney), a devout nun and the picture of purity is invited to join the convent, which also serves as a hospital for elderly Sisters, following the collapse of her own religious community, she believes this is a calling from on high. Upon arrival it soon reveals that this is not the sanctuary that first appeared, and a growing malevolence slowly draws forth and her meek and withdrawn demeanour begins to unravel.

The Prognosis:

Mohan steps through the horror genre door with bold proclamations and high hopes. It serves him well to aim high as he certainly delivers a thought provoking and in some places shocking narrative from Andrew Lobel’s screenplay. 

This is a film that has three very clear acts and while the first act could have added some more depth to the character and to set the scene, the slow distribution serves as a strength to what Mohan has in store. The second act shifts through the tumultuous gears that allows Sweeney to explore Ceclia’s character and valour, whilst exposing the patriarchal hold the convent holds over her, before the cord is ripped in the final act in a crescendo of cataclysmic proportions.

  • Saul Muerte

Immaculate is currently screening in cinemas nationwide.

Movie Review: The Jester (2024)

23 Saturday Mar 2024

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The masked, silent assassin has always been a prominent feature in the horror genre albeit through numerous guises along the way. Since the introduction of Art the Clown in The 9th Circle, Damien Leone has set the benchmark for dialing up the visual senses with mute, macabre mayhem.

While Art has been enjoying the limelight of hyperbolic, sadomasochistic sensationalism, there has been another fool waiting in the wings and filled with promise.

The Jester was introduced by its creators Colin Krawchuk and Michael Sheffield in the 2016 short film and has had two follow up shorts in which  this malevolent being with magical, paranormal abilities seeks pleasure in terrorising victims who don’t appreciate his tricks.

With the option to stretch out the character with a full length feature to enact his will upon the world, it felt right to challenge Art in the horror arena.

The opener sees The Jester’s first victim John attempt to reconnect with his daughter, Emma (Lelia Symington). When he fails to do so, he becomes a puppet for The Jester’s stage and is forced into an apparent suicide.

The narrative picks up with the estranged Emma attending her father’s funeral when she meets with her step sister, Jocelyn (Delaney White). Their differences become all too obvious however, and they go their separate ways, only for The Jester to resurface on Halloween night to wreak havoc on them both.

The Prognosis:

The Jester could have been a contender, to challenge the horror scene with a disturbingly maniacal approach with a transcendental twist.

While it basks in the beauty of extreme brutality, the moments in between leave you meandering in mediocrity.

This is a patchwork job that definitely shows that Krawchuk and Sheffield know how to raise an eyebrow when they lean into the darkness but need to spend some more time working through the lighter moments to keep their audience engaged.

A missed opportunity to take the horror crown with a promising premise but instead they are mere pretenders to the throne.

– Saul Muerte

Movie Review: Desperation Road (2024)

21 Thursday Mar 2024

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Straight from the outset, Desperation Road lets us know that it is not going to be an easy road to travel and the hardship that the two leads must endure is not only going to be a rocky one, but one that will test you to see if you can endure the longevity set between the beats of depression, fatigue and failure among the drama and heart of the movie.

Nadine Crocker doesn’t shy away from wringing out every ounce of anguish in her sophomore outing and has some hard hitters to support bringing Michael Farris Smith’s screenplay through her creative vision. Garrett Hedlund (The Marsh King’s Daughter), Russell, is a man trying to turn his life around but still haunted by his past following a drink-driving accident. While the town is not willing to forgive, his father (Mel Gibson) will always feel the heartache for his son. When Russell crosses paths with a woman, Maben (Willa Fitzgerald – Scream: The TV series) who is on the run with her young daughter, Analee (Pyper Braun).

When these lives intertwine, the reality of the past becomes apparent and their shared pain becomes one that will forever connect them, bound in a lawless future that may never heal.

The Prognosis:

This is a hard slog without fault from its leads who wallow in the depth of their depraved characters’ lives. The more entrenched they are, the more difficult it becomes for the viewer to drift when the river of pain is so unsettling. Despite this, we coast along to the harmony of strong performances on show towards the final act. Some may not wish to stick around until then, but for those who do, the burden of the narrative road that has been travelled is felt with every step and as with any hardship, the catharsis is rewarding once we find ourselves at the other side of the carnage.

  • Saul Muerte

Movie Review: Beware The Boogeyman (2024)

21 Thursday Mar 2024

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In an age where a straight to home entertainment release can mean anything from a poorly publicised descent flick or hidden gem to an out and out turkey, it can be hard to find those nuggets of gold without panning through the muck. Horror anthologies of which Beware The Boogeyman falls under with its five tales of horror loosely based on the mythical creature that was poised to frighten kids with its many variants and tales passed on over the years. 

Bookmarked by the setting of Silverdale Psychiatric Hospital where Dr. Moon (Airisa Durand) is briefing potential new recruit Dr. Makenzie (Elissa Dowling) to the team by introducing her to five cases of the inmates (and the tales that form the selection for the anthology) and what led them to their incarceration.

Stepping behind the camera to direct the wraparound and the first story, Case File 1 is Calvin Morie McCarthy to set the tone of the piece by following Cathy (Chynna Rae Shurts) who has brought a guy back to her place for what appears to be an intimate night, only for the reveal of something lurking at the top of the stairs.

Case File 2 then tries to take up the baton with writer/director Josh Dietrich’s telling of Olivia (Nicolette Pullen) an artist who holds some psychological scars that leave her (and us) to ponder what may or may not be reality. A curious mix that falters in its expression.

Case File 3 helmed by Kai Pacifico Eng is the longest segment and buries itself with two brothers in hiding after they have disposed of a body. While the elder, Tommy (Khail Duggan) tries his best to keep on top of the situation, his younger brother Ethan (James Luster) appears to be falling apart and seeing the titular Boogeyman behind every corner, fuelling his guilt.

Case File 4 for me was the strongest in the mix albeit predictable in places. Tim Coyle directs this humouresque take on ghost hunter or paranormal explorer tv shows as they go in search for proof of the boogeyman. John (Steve Larkin) is hellbent on exposing the mythical creature as a real life entity, and employs Rose (Jax Kellington) to help him capture the footage. They get more than they bargained for however when exploring the setting of a previous crime and alleged sighting.

Bowing out the anthology is Case File 5, another tongue in cheek tale that now sees Calvin Morie Mcarthy in front of the lens, as Shawn, a man trying to get back on the straight and narrow only to fall into bad habits once more and evoking the boogeyman along the way. In a change of roles, Chynna Rae Shurts calls the shots in the director’s chair for this one. 

The Prognosis:

Horror anthologies never really set my world alight as I always feel let down by some, if not all of the segments involved, but despite its low budget and predictable narratives, there are some solid beats in the mix to allow this straight to home entertainment piece to make descent viewing if you’re willing to forgive its misgivings.

  • Saul Muerte

Movie Review: T Blockers (2024)

20 Wednesday Mar 2024

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For a debut feature So Vam served as a platform for Alice Maio Mackay to find her feet in the directing field and provide a voice among the transgender community. Her sophomore feature, Bad Girl Boogey would give the swagger to amplify Mackay’s creative vision. Now with her third outing T Blockers, Mackay hits her stride, packing in all her learnings thus far and fusing it all together with the same raw, guerilla approach to the storytelling.

This time around Mackay takes the theme of ostracisation by the jugular and exposes the truth behind the veil of hypocrisy that society or specific members therein feel they can hide behind to spout their archaic views. The main arrow slung though is towards a certain demographic among the cisgender population who hold rigid views on gender itself and through fear or violation feel the necessity to haunt or ridicule anyone who doesn’t fit their ideal mould. Telling indicators to this are embedded through the camp humour that Mackay utilises to convey her message citing JF Rowling and Andrew Tate in particular.

Propping up the intro and acting as a narrator at points throughout is a delightful nod to horror veteran Elvira, with a LGBTQIA+ flavour, casting Drag Race Down Under queen Etcetera Etcetera to tantalise the audience with witty and philosophical rhetoric.

We’re then pivoted into a world where the susceptible and those who feed off the fear inherently built up in society are prey to an ancient parasite and the more it consumes, the more hatred is then thrust back into the world. A young trans filmmaker, Sophie (Lauren Last) is struggling with their transition but discovers that they have an ability to sense those who have become possessed. Together with her bestie, Spencer (Lewi Dawson) and fellow members of the newly formed resistance, take on the threat and battle their way against the fray.

The Prognosis:

Each time they deliver, Mackay makes you sit up and take notice. Her fresh direct approach to storytelling is all the more significant as Mackay takes her own personal experiences to connect, unite and in some cases awaken a community. Plus you can tell that they are having a ball in the process, harnessing their skills and growing in strength in all areas of their creativity. This feels like their most personal story yet, but you can tell there is a lot more to come. I can’t wait to see more of Mackay’s journey behind the lens.

  • Saul Muerte

T Blockers will be available on VOD and DVD through Umbrella Entertainment from March 20. 

Movie Review: You’ll Never Find Me (2024)

17 Sunday Mar 2024

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Sit up and take notice Australia as another creative homegrown team have produced a dark tale worthy of your attention. Indiana Bell has once again teamed up with her directing partner Josiah Allen to develop her screenwriting skills for their first feature length outing. 

A deliciously claustrophobic story, set predominately inside a mobile home at the back of an abandoned caravan park during a gloomy and stormy night. Its sole occupant is Patrick (Brendan Rock – Carnifex, The Stranger), a strange and lonely man with hints that he may harbour a disturbing past, or is he just a man suffering from a traumatic incident that has forced him away from society?

On this one night from which the story takes place, Patrick receives an unknown visitor (Jordan Cowan – Jade of Death) at his door; the woman also displays some strange behaviour. Does she also conceal an iniquitous truth? Or is she merely the seeker of one?

From here on out will have a very simple-yet-smart narrative that pits two souls in the midst of singular location. Trust/mistrust, deception/investigation. By the time the story ends the truth will out as both delve deep into heart of it, but neither party may accept the outcome with.

The Prognosis:

This film could so easily be dismissed and with its minimal cinematic release could further bury it amongst a plethora of other features. To do so would be grossly dismissive as Indiana Bell and Josiah Allen have presented a clever and harrowing story carved out of a singular location. Smart in that it keeps the budget down, but also the manner in which they slowly deliver their tale, drags out the tension further much to the delight of the viewer. All of this is further strengthened by its two leads (Rock and Cowan) who equally showcase depth and intrigue to their respective roles. Hats off to cinematographer Maxx Corkindale who crafts his own vision from behind the lens to add another layer to the artistry on display. 

From what has been a quiet year on the horror scene so far, You’ll Never Find Me throws down the gauntlet for originality told on a low budget with a great mix of talent on show.

  • Saul Muerte

You’ll Never Find Me will be available as a Collector’s Edition on Blu-ray at Umbrella Entertainment while stocks last from May 22. 

Movie Review: Imaginary (2024)

08 Friday Mar 2024

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Is Blumhouse starting to lose its killer shine?

Having launched the first Paranormal Activity feature back in 2009, the production house built by Jason Blum hit its stride through the 2010’s with Insidious; Sinister; Get Out; Happy Death Day and a whole heap of genre features that tapped into the modern cinema-going audience. With a blend of old school horror fused with trendsetting twists on classics, Blumhouse made a significant mark. We’re now 15 years on and the machine that was churning out feature upon feature for the next generation in horror cinephiles to lap up and it would appear that the cogs are starting to rust from grinding out sublime movies that upon scrutiny are starting to pale in comparison to groundbreaking, thought-provoking films that built up the reputation of Blumhouse Productions. This slump could be traced back to David Gordon Green’s curious direction for the Halloween trilogy; one that could be a metaphor for the Blumhouse catalogue thus far, come out swinging and hitting hard, before trickling into unnecessary padding, before a shambolic, misguided outcome that degrades the name that initially made a franchise great. 

That’s not to say there have been some nuggets of gold in the mix, with The Black Phone and M3GAN proving to be a hit with the box office, (the latter being only the start of last year) but when the outlet is great, doesn’t necessitate that the quality will match and we get the mishits of Insidious: The Red Door; The Exorcist: Believer; Five Nights at Freddy’s; and (the as yet-not-watched by this writer) Night Swim. 

So, where does that place things for their latest venture, Imaginary that was released this week? A tale of a blended family, each member hosting a traumatic past move into Jessica’s (DeWanda Wise) childhood home in a vain attempt to put their tragic history behind them. All this changes though when the youngest step daughter, Alice (Piper Braun) finds an old teddy bear in the basement that she takes on as an imaginary friend. What appears to be an innocent childhood play experience comes into question when some dark turns are taken, leading the family into a journey that will test their strength. 

On paper, this concept is a solid one and Director Jeff Wadlow (Truth or Dare; Fantasy Island) spends some quality time building on character; something that directors and creatives are prone to neglect for the sake of pace and drama. It’s a shame then, that all the build up is for nought as he is let down by poor performances, some downright wet in places. This would be borderline forgivable if it wasn’t for the fact that the storyline is equally weak and let down by shoehorning in recogniseable moments from signature movies in the past such as Beetlejuice; Labyrinth; and Child’s Play. There’s one thing to make nods to creativity that has inspired, but before too long it becomes obvious that you are drowning in unoriginality. 

While this may be another misfire for Blumhouse, all is not lost and this could very well be the lull before another hit comes along, especially with Leigh Whannell’s The Wolf Man, and sequels to the psychotic killing doll M3GAN 2.0 and The Black Phone 2. Time will tell.

The Prognosis:

Imaginary by name but sadly not in the telling. Jeff Wadlow once again directs a lacklustre turn from behind the lens and a downward turn for Blumhouse. No originality and one that seems content in coasting along rather than creating a unique voice for the horror genre. Is the modern production giant resting on its namesake? One can only muse for now.

  • Saul Muerte

Imaginary is currently screening at cinemas nationwide.