Monthly Archives: January 2025

Dark Match (2025): Wrestling Meets Cult Horror in a Middling Smackdown

30 Thursday Jan 2025

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When Dark Match hits Shudder later this month, viewers can expect a wild mix of professional wrestling theatrics and cult-horror chaos. While the premise promises over-the-top fun, the execution leaves much to be desired. This film delivers what’s advertised—a gritty, campy wrestling death match with horror flair—but not much beyond that.

At its core, Dark Match feels like a straightforward revenge-horror flick cloaked in wrestling gear. The narrative leans heavily into the “outsiders stumble into a backwoods nightmare” trope, with the wrestling company’s clash against a bizarre cult playing out as predictably as a scripted match. Though the concept teases originality, the story rarely rises above mediocrity.

What elevates Dark Match is its eclectic cast. Steven Ogg (The Walking Dead) leads the charge, bringing his trademark intensity and a simmering edge to the role of the company’s jaded leader. Sara Canning (Influencer) shines as the voice of reason, adding some much-needed emotional grounding. Wrestling legend Chris Jericho brings charisma and authenticity to the ring, while Ayisha Issa adds flair with her formidable screen presence.

The ensemble is undeniably talented, but the material they’re given limits their potential. Despite their best efforts, the characters feel underdeveloped, and the performances struggle to rise above the film’s lacklustre script.

Director Lowell Dean attempts to meld the visceral chaos of wrestling with the unnerving dread of a cult thriller. The result is a film that delivers a few entertaining sequences but fails to create lasting impact. The wrestling scenes are gritty and energetic, though they lack the spectacle needed to captivate non-wrestling fans.

The horror elements, meanwhile, are serviceable but never fully realised. The cult’s devious plans feel thinly sketched, and the tension rarely escalates beyond surface-level scares. The film’s low-budget charm shines through in its practical effects, but the overall execution feels too rough around the edges.

For fans of wrestling or low-budget horror, Dark Match might offer enough campy fun to warrant a watch. Its mash-up of two niche genres is undeniably intriguing, and the performances provide occasional sparks of brilliance. However, the film’s inability to fully commit to its premise or deliver a compelling story ultimately relegates it to the undercard.

Dark Match does exactly what it says on the tin—no more, no less. While it may not win any belts for originality, it’s a quick, bloody bout that some viewers will enjoy for its novelty alone.

  • Saul Muerte

Dark Match will be streaming on Shudder from Jan 31.

Phenomena (1985): A Quirky, Eerie Gem from Argento’s Thrilling Catalogue

30 Thursday Jan 2025

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Celebrating 40 Years of Insect-Infused Mystery and Murder

In 1985, Dario Argento gifted audiences another slice of his signature blend of horror, mystery, and striking visuals with Phenomena. While it may not soar to the heights of Suspiria or Deep Red, this supernatural murder mystery remains a fascinating entry in the Italian maestro’s filmography. On its 40th anniversary, Phenomena continues to captivate viewers with its audacious concept, atmospheric cinematography, and unforgettable performances.

A Tale of Creepy Crawlers and Murder

Phenomena centres on Jennifer Corvino (a young Jennifer Connelly), a teenager with the extraordinary ability to communicate with insects. Transferred to an elite boarding school in the Swiss Alps, Jennifer quickly finds herself drawn into the chilling mystery of a series of brutal murders. Partnering with entomologist Dr. John McGregor (the legendary Donald Pleasance), Jennifer’s unique talent becomes a vital tool in uncovering the killer’s identity.

The narrative combines Argento’s hallmark elements—gruesome murders, dreamlike visuals, and labyrinthine storytelling—with an offbeat twist: the inclusion of insects as both allies and plot devices. It’s a bizarre but oddly compelling concept that lends Phenomena its unique identity within Argento’s oeuvre.

Connelly and Pleasance Shine Amid the Macabre

At the heart of the film is Jennifer Connelly, whose natural charisma and vulnerability anchor the story. Despite being relatively new to the screen, her performance carries a maturity and magnetism that make Jennifer Corvino an engaging protagonist.

Donald Pleasance, no stranger to horror audiences, brings gravitas and warmth to his role as Dr. McGregor. His character’s endearing partnership with a chimpanzee (a truly Argento-esque touch) adds a surprising layer of charm amid the grisly murders. Together, Connelly and Pleasance elevate the material, keeping the audience invested even when the plot veers into outlandish territory.

Argento’s Visual and Sonic Flair

True to form, Argento infuses Phenomena with his inimitable visual style. The Swiss landscapes are simultaneously idyllic and foreboding, while the boarding school exudes an oppressive, otherworldly quality. The film’s murder scenes are as graphic as they are meticulously crafted, blending beauty and brutality in a way that only Argento can achieve.

Adding to the film’s atmosphere is its eclectic soundtrack, which combines Goblin’s pulsating score with unexpected heavy metal tracks from Iron Maiden and Motörhead. The result is an auditory rollercoaster that amplifies the film’s eerie, high-energy vibe.

A Mixed Bag, but Unforgettable

While Phenomena showcases many of Argento’s strengths, it’s not without its flaws. The pacing can feel uneven, and the plot occasionally descends into absurdity. However, these quirks are part of the film’s charm, making it a uniquely bizarre experience that has aged into a cult favourite over the decades.

A Legacy of Weirdness and Wonder

Forty years on, Phenomena stands as a testament to Dario Argento’s audacity as a filmmaker. It may not achieve the perfection of his greatest works, but its bold premise, striking visuals, and memorable performances ensure its place in the pantheon of cult horror classics. Whether you’re drawn to its insectoid oddities, its murder-mystery thrills, or its unapologetic weirdness, Phenomena remains a fascinating watch that showcases Argento’s ability to push the boundaries of genre filmmaking.

For those revisiting Phenomena or experiencing its peculiarities for the first time, the film remains a darkly magical journey into the mind of a horror visionary.

  • Saul Muerte

A Haunted Turkish Bathhouse (1975): 50 Years of Ghostly Revenge and Social Commentary

28 Tuesday Jan 2025

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Fifty years ago, Kazuhiko Yamaguchi’s A Haunted Turkish Bathhouse (怪猫トルコ風呂) slithered onto screens with a mix of sleazy exploitation, supernatural revenge, and biting cultural critique. While the film’s overt nudity and unrelenting male gaze may alienate some viewers, its deeper purpose—to expose the toxic undercurrents of masochistic power and control—remains as compelling today as it was in 1975.

Set in a brothel-cum-bathhouse, the story revolves around a sinister gangster plotting against his own wife, enlisting the help of the bathhouse owner’s equally conniving spouse. What begins as a tale of betrayal and abuse soon spirals into a gory, ghostly revenge flick, with spirits from beyond the grave exacting brutal retribution on those who perpetuated their suffering.

Yamaguchi’s direction is steeped in the lurid stylings of 1970s Japanese exploitation cinema, a genre that pushed boundaries and courted controversy. The vibrant, almost garish cinematography imbues the bathhouse with an unsettling beauty, contrasting starkly with the grim realities unfolding within its walls. The film revels in excess, yet it wields this excess as a tool to critique the structures of oppression that it so graphically depicts.

Beneath its surface titillation lies a sharp critique of masochistic tendencies that dominate not only the narrative but the broader cultural landscape. The film’s exaggerated depictions of control and subjugation serve to expose their inherent ugliness, flipping the exploitation genre on its head. The supernatural revenge elements, while delightfully gruesome, also function as a cathartic reclamation of power, giving voice—albeit spectral—to the voiceless.

The performances are as over-the-top as the film itself, with a theatricality that matches the heightened emotions and stakes of the narrative. The cast embraces the absurdity, leaning into the melodrama without losing sight of the story’s darker undertones.

While A Haunted Turkish Bathhouse may not be for everyone, it’s impossible to deny its audacious energy and layered subtext. It’s a film that forces viewers to confront the darker sides of humanity while delivering the gory thrills and ghostly chills that define its genre.

Half a century later, A Haunted Turkish Bathhouse continues to haunt audiences with its unique blend of exploitation and commentary. It’s a messy, macabre, and mesmerising journey into the depths of revenge, power, and the supernatural—a reminder that even in death, some wrongs demand to be righted.

  • Saul Muerte

Les Diaboliques (1955) – 75 Years of Perfectly Orchestrated Intrigue and Terror

28 Tuesday Jan 2025

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It’s been 75 years since Henri-Georges Clouzot’s Les Diaboliques first graced the silver screen, and its chilling impact has yet to wane. Widely regarded as one of the greatest psychological thrillers ever made, this French masterpiece weaves an intricate tale of murder, revenge, and betrayal that continues to captivate audiences decades later.

At its core, Les Diaboliques tells the story of two women, Christina Delassalle (Véra Clouzot) and Nicole Horner (Simone Signoret), who conspire to murder Christina’s abusive husband, Michel (Paul Meurisse). What unfolds is a meticulously crafted narrative of suspense, where nothing is as it seems. Every twist is perfectly timed, every revelation carefully seeded, and the result is a finale so shocking that it has been etched into cinematic history.

Clouzot’s direction is nothing short of masterful. With an acute eye for detail and a relentless ability to build tension, he turns the mundane into the menacing. The waterlogged bathtub, the murky swimming pool, and the claustrophobic corridors of the boarding school all become characters in their own right, infused with an almost unbearable sense of dread.

The performances are equally outstanding. Simone Signoret brings a sharp, calculated edge to Nicole, her steely resolve a perfect counterpoint to Véra Clouzot’s fragile, haunted Christina. Together, they form a complex dynamic that anchors the film’s emotional and psychological core. Paul Meurisse’s portrayal of the detestable Michel is chilling in its casual cruelty, making his eventual fate all the more satisfying.

What truly sets Les Diaboliques apart is its seamless blend of genres. It’s a thriller, yes, but it’s also a mystery, a horror film, and a character study. Clouzot balances these elements with remarkable precision, creating a film that is as thought-provoking as it is terrifying.

Even 75 years later, Les Diaboliques feels as fresh and riveting as it did in 1955. Its influence can be seen in countless films that followed, from Alfred Hitchcock’s Psycho (a film Hitchcock reportedly wanted to outdo Clouzot with) to modern psychological thrillers. Yet, few have matched its brilliance.

The film’s enduring legacy is a testament to its perfection. From its spine-tingling suspense to its unforgettable climax, Les Diaboliques remains a masterpiece of intrigue and terror, as thrilling today as it was 75 years ago.

  • Saul Muerte

Hide and Seek (2005) – 20th Anniversary Retrospective

28 Tuesday Jan 2025

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“Come out, come out, whatever you are.”

Upon its release in 2005, Hide and Seek, directed by John Polson, seemed like another middling psychological thriller, leaning heavily on well-worn horror tropes. I initially rated it two stars, dismissing it as a predictable entry in the genre. Revisiting it two decades later, however, I find myself reevaluating its merits. While it doesn’t escape its formulaic framework, Hide and Seek is bolstered by the commanding performances of its two leads: Robert De Niro and a young Dakota Fanning.

The story follows David Callaway (De Niro), a psychologist grappling with the aftermath of his wife’s suicide, as he tries to provide a sense of normalcy for his traumatised nine-year-old daughter, Emily (Fanning). The introduction of Emily’s imaginary friend ‘Charlie’ starts innocuously enough but quickly takes a dark turn, leading to a series of disturbing events that unsettle their rural sanctuary.

One of the film’s greatest strengths is its central performances. De Niro portrays David with a weary fragility, capturing a father unraveling under the weight of grief and fear. Meanwhile, Fanning, in one of her early standout roles, delivers a haunting and layered performance that veers between innocence and unsettling maturity. Her portrayal of Emily feels authentic, keeping the audience guessing about the true nature of ‘Charlie.’

That said, Hide and Seek is not without its flaws. Its reliance on tired horror conventions, including jump scares and an overused twist-ending formula, holds it back from being truly memorable. The third act, in particular, struggles under the weight of its own ambition, as the film strains to deliver a shocking conclusion that ultimately feels too contrived.

Still, with the passage of time, the film’s strengths shine brighter. Its eerie atmosphere, punctuated by a chilling score and unsettling visuals, creates an effective mood that lingers. While the story may not break new ground, the commitment of its leads elevates it above the mediocrity I initially ascribed to it.

On this 20th anniversary, Hide and Seek deserves a second look—not as a groundbreaking psychological thriller, but as a solidly entertaining one. It’s a film that may fall victim to genre clichés, but thanks to De Niro and Fanning, it still manages to leave an impression.

  • Saul Muerte

Companion (2025): A Sharp Blend of Humour, Tragedy, and Tech Gone Wrong

27 Monday Jan 2025

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Drew Hancock’s Companion delivers a compelling exploration of power, greed, and the consequences of unchecked technological advancements. Set against the backdrop of a mysterious lakeside estate, the story begins with the death of a tech billionaire whose legacy of innovation casts a dark shadow over the weekend gathering of Iris (Sophie Thatcher) and her friends. What unfolds is a biting mix of humour and tragedy, wrapped in a thriller that feels both timely and timeless.

Hancock masterfully balances tones, infusing moments of sharp wit and levity into a narrative underpinned by unsettling themes of patriarchy and dominance. While the premise of advanced tech gone wrong is far from novel, the execution feels fresh, thanks to a sharp script and keen direction that probes the darker side of human ambition and control. The tension rises organically, with moments of absurdity that give way to genuine horror and introspection, reminding viewers of the perils of idolising innovation without question.

The ensemble cast shines, each member bringing depth to characters that could have easily been archetypes. However, it’s Sophie Thatcher who steals the show. Building on her growing list of impressive performances, Thatcher brings vulnerability and resolve to Iris, anchoring the story with a character we can’t help but root for. Jack Quaid, Rupert Friend, and Harvey Guillén also stand out, each adding unique texture to the film’s examination of power dynamics and greed.

The setting—isolated yet luxurious—becomes a character in itself, mirroring the contradictions of a world driven by progress yet haunted by its moral compromises. Hancock’s direction captures this duality beautifully, complemented by a sleek visual style and a score that oscillates between unsettling and darkly comedic.

Companion doesn’t reinvent the wheel, but it offers a thought-provoking and entertaining ride. It’s a story that reminds us of the dangers of letting technology dictate our humanity, but it does so with a wink and a smirk, never losing its sense of humour amidst the tragedy. Hancock proves himself a director to watch, and with Companion, Sophie Thatcher only further solidifies her status as one of the most promising talents of her generation.

If you’re looking for a clever, tech-infused thriller with a satirical edge, Companion is a solid choice—one that leaves plenty to ponder well after the screen fades to black.

  • Saul Muerte

Companion will be released in Australian cinemas from Thu 31st Jan.

The Green Slime (1968) – Tentacled Terror in Technicolor

25 Saturday Jan 2025

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Kinji Fukasaku’s The Green Slime is a sci-fi horror that’s as cheesy as it is colourful, blending astronauts, space monsters, and a heaping dose of camp into a package that can only be described as quintessentially 1960s. It’s a film that wavers between absurd fun and baffling incompetence, but its striking visuals and sheer audacity make it hard to forget.

The premise is simple but effective: astronauts destroy a giant asteroid heading toward Earth, only to inadvertently bring back a green goo that spawns one-eyed, tentacled creatures on their space station. From there, chaos ensues as the monsters wreak havoc, feeding off electricity and zapping the hapless crew. It’s a familiar setup, but one elevated (or derailed, depending on your perspective) by the film’s over-the-top execution.

While the special effects are undeniably dated, they possess a certain charm. The titular Green Slime monsters, with their glowing eyes and wriggling tentacles, are endearingly goofy, and the vibrant technicolor palette gives the film a distinct visual identity. Fukasaku’s direction, though uneven, injects the proceedings with enough energy to keep things moving, even when the script falters.

Like The Astro-Zombies, The Green Slime suffers from clunky dialogue and a paper-thin plot, but its campy appeal is impossible to ignore. The film leans into its B-movie roots, embracing the ridiculousness of its premise with gusto. It’s the kind of film that thrives on late-night viewings and good-natured riffing, offering just enough spectacle to entertain.

While The Green Slime is far from a classic, it’s a fun, kitschy ride for those who appreciate the charms of mid-century sci-fi. Its influence on the genre may be negligible, but as a piece of schlocky entertainment, it delivers exactly what it promises: gooey, tentacled mayhem in space.

  • Saul Muerte

The Astro-Zombies (1968) – A B-Horror Oddity with a Spark of Visual Flair

24 Friday Jan 2025

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Ted V. Mikels’ The Astro-Zombies is the kind of movie that revels in its own absurdity, serving up a bizarre cocktail of dismembered bodies, reanimated killers, and international espionage. While it’s far from a masterpiece (or even a coherent film), its sheer B-horror audacity and pulpy visuals have a way of sticking in the mind.

Anchored by John Carradine’s portrayal of the mad scientist Dr. DeMarco, the film spins a wild tale involving killer robot-zombies powered by solar energy, a trail of female murder victims, and an eclectic mix of spies—from Chinese communists to Mexican secret agents. It’s a lot to cram into a low-budget thriller, and the result is predictably chaotic. Plot threads come and go with little regard for logic, and the performances range from hammy to outright wooden. Yet, there’s a certain charm to its unpolished enthusiasm, a quality that endears it to fans of offbeat cinema.

What The Astro-Zombies lacks in storytelling finesse, it makes up for with its striking concept and visuals. The titular astro-zombies, while clunky in execution, are undeniably memorable with their grotesque, Frankensteinian appearance. Mikels imbues the film with a retro-futuristic aesthetic, all garish lighting and crude laboratory setups, that captures the spirit of 1960s B-movies.

For all its flaws—and there are many—it’s hard to entirely dismiss The Astro-Zombies. There’s an undeniable charm to its hodgepodge of ideas, even if the film ultimately stumbles under the weight of its ambition. While its appeal is niche, those with a taste for campy, low-budget horror might just find themselves entertained by this strange little relic of the 1960s.

  • Saul Muerte

New Life (2025): Strong Performances Can’t Save a Meandering Plot

24 Friday Jan 2025

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John Rosman’s New Life presents itself as a high-stakes thriller laced with mystery and apocalypse. With Sonya Walger and Hayley Erin anchoring the film, their commendable performances provide much-needed gravity to a narrative that struggles to find its footing. Unfortunately, even their efforts can’t fully redeem a story that drags its way through prolonged build-up before stumbling into its climactic moments.

The plot follows a mysterious woman on the run and a resourceful fixer tasked with tracking her down. Their entwined fates drive the film’s central tension, but the execution is hindered by pacing issues and an over-reliance on cryptic storytelling. While the promise of apocalyptic stakes looms in the background, the narrative spends too much time spinning its wheels, leaving viewers yearning for something—anything—to justify the drawn-out setup.

When the film finally pivots to a zombie/plague-like outbreak, it injects a much-needed sense of urgency. The chaotic and visceral energy in these moments hints at what the film could have been had it embraced this intensity earlier. Unfortunately, by the time the action kicks in, the payoff feels like too little, too late, leaving the audience more exhausted than exhilarated.

Despite the lacklustre pacing, Sonya Walger and Hayley Erin stand out as the film’s saving grace. Walger brings a steely determination to her role, while Erin portrays vulnerability and resilience with equal skill. Their dynamic holds the viewer’s attention even as the story falters, offering glimpses of what could have been a more compelling character-driven thriller.

Rosman’s direction showcases moments of visual flair, particularly in the film’s apocalyptic sequences, but these flashes of brilliance are undermined by a script that stretches thin. The potential for a gripping, high-stakes narrative is evident but remains unrealised, bogged down by a lack of momentum and clarity.

New Life ultimately feels like a missed opportunity—a story with intriguing elements and strong performances that’s let down by uneven execution. While the film’s latter half provides some excitement, it can’t quite overcome the sluggish pacing and underdeveloped narrative that precedes it.

If you’re a fan of slow-burn thrillers and compelling lead performances, New Life might hold some appeal, but for most, it’s likely to be a frustrating watch.

  • Saul Muerte

New Life will be streaming in Shudder from Monday 27th Jan.

Wolf Creek (2005) – 20 Years of Terror in the Outback

23 Thursday Jan 2025

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In 2005, Greg McLean’s Wolf Creek unleashed a chilling new chapter in Australian cinema, a psychological horror that tore through audiences with its unflinching brutality and unsettling realism. Two decades later, the film’s harrowing impact remains undeniable, cementing its place as an iconic piece of modern horror. Though divisive for its slow-burn pacing and visceral violence, Wolf Creek thrives on its darkly warped core and the unforgettable menace of John Jarratt’s performance as the sadistic Mick Taylor.

Set against the backdrop of Australia’s desolate outback, Wolf Creek begins with an eerie calm. McLean’s deliberate pacing immerses viewers in the idyllic yet isolating beauty of the terrain, lulling them into a false sense of security as three travelers—Ben (Nathan Phillips), Liz (Cassandra Magrath), and Kristy (Kestie Morassi)—set off on an adventure. It’s not until they cross paths with Mick Taylor, an unassuming yet unhinged local, that the film’s true terror takes shape.

John Jarratt’s portrayal of Mick Taylor is the cornerstone of Wolf Creek’s enduring legacy. Drawing inspiration from real-life Australian crimes, Jarratt transforms Mick into a disturbingly charismatic monster, combining a disarming sense of humour with an undercurrent of sadistic cruelty. His every laugh, leer, and word carries an air of unpredictability, making him one of horror’s most terrifying villains. Jarratt’s chilling performance anchors the film, ensuring Mick Taylor remains a haunting figure in the annals of horror cinema.

Despite criticisms of its slow start, McLean’s direction proves masterful in its escalation of dread. The film’s first act may take its time, but it serves a purpose: establishing the characters’ humanity and grounding the story in an almost documentary-like realism. This measured buildup amplifies the horror when it arrives, plunging the audience into an unrelenting nightmare that feels disturbingly plausible.

Wolf Creek also marked a turning point for Australian cinema, revealing a darker, grittier side of the national identity. Far from the sun-soaked landscapes and laid-back charm often associated with Australia on screen, McLean’s vision is one of isolation, vulnerability, and predatory danger. The vast emptiness of the outback becomes a character in itself, both beautiful and menacing, amplifying the film’s sense of helplessness.

The success of Wolf Creek spawned a sequel, Wolf Creek 2 (2013), and a television series, allowing audiences to dive deeper into Mick Taylor’s twisted world. A long-rumored third installment remains a tantalising prospect, proof of the franchise’s lasting appeal. Though each expansion of the Wolf Creek universe adds layers to its narrative, the original remains unmatched in its raw power and visceral impact.

As Wolf Creek turns 20, its legacy as a defining entry in horror cinema is undeniable. Greg McLean’s audacious storytelling, combined with Jarratt’s terrifying performance, created a film that sticks in the mind. Whether you revisit it for its shocking brutality, its exploration of Australia’s darker underbelly, or its unforgettable villain, one thing is certain: Wolf Creek is as haunting today as it was two decades ago.

  • Saul Muerte