Before Benedict Cumberbatch donned the deerstalker hat for Moffat and Gatiss’ modern interpretation of Sir Arthur Conan Doyle’s infamous detective, another British icon had made an impressionable mark for Hammer Film Productions’ The Hound of the Baskervilles. Having already portrayed literature icons Baron Frankenstein and Van Helsing, it was time to turn his head towards Sherlock Holmes for one of his greatest adventures.
His Doctor Watson would be ably performed by Andre Morell (The Plague of Zombies) who himself would become a Hammer staple, but it would be the casting of Sir Chrisopher Lee as Sir Henry Baskervilles (once again unite Hammer’s most memorable duo on screen) in the first representation of the tale in colour surrounding the dreaded curse and the beast the walks the moors.
Hammer would look to sensationalise or create drama that was absent from the initial storyline, including the tarantula scene. Probably the hardest trick was to produce a larger than life hound for the film’s climax; a tough act considering Lee’s stature, but Hammer found their answer with a Great Dane called Colonel.
It was initially conceived to be the gateway to many more Sherlock Holmes’ adaptations, but would be the only occurrence, much to the company and cinephiles’ dismay. It would have been interesting to see Cushing take on the role in numerous other stories.
The great Terence Fisher who had stamped his signature vision; and one that became synonymous with the Hammer style with The Curse of Frankenstein and Dracula, would wield his take of the action from the Director’s chair. With the talent in front of the screen from which to mould the narrative, Fisher had created a feature that stands alongside these Gothic treatments that made Hammer Horror’s name, so it’s a shame that there weren’t more chances to delve within Conan Doyle’s world.
Is it wrong to judge a movie by its trailer? There is always that element of luring the audience with the most tantalising elements of the film and yet, there was something that captured my intrigue towards David Liz’s sophomore feature.
The Welder boasts all the hallmarks of a decent horror movie, with a psychologically unbalanced killer, who comes into contact with a traumatised victim to force the latter into confronting and potentially overcoming her fears.
At the heart of the movie Liz injects the theme of race and the gulf that divides us. More importantly it tackles the notion of what happens within this chasm when it is not adhered to and left within the wastelands of neglect.
This theme is driven through the eyes of Eliza (Camilla Rodriguez) a young latino woman, a former military doctor who faced her fair share of traumatic experiences that continue to haunt her. This deeply immersed incident is what encourages her boyfriend, Roe (Roe Dunkley) to book a holiday for them to a remote ranch, away from life’s turmoils so that they can be together and recuperate.
But it wouldn’t be a horror thriller without a catch to their chosen paradise. This comes in the guise of ranch owner, William Godwin (Vincent de Paul) who harbours a secret beneath his pleasant demeanour, one that has pushed him to madness, experimenting with a warped vision to eradicate this racial discrimination.
The Prognosis:
There are some suitably scarring moments that are brought to screen with the image of body mutilation and psychological tension brought to the fore. The dialogue is often delivered naturally between the two leads, Rodriguez and Dunkley with great chemistry. Rodriguez in particular is great to watch drifting through the various stages of anxiety and fear. I did feel that de Paul’s performance as the doctor struggled to lift out of the innate appeal to shift into the heightened state of macabre delirium needed to convey enough scares.
It’s a slow burn which has its pros and cons in that it allows time to build up character depth, but loses out in delivering enough for a satisfying climax.
Still, a worthy effort and has enough strong parts from which to fuse Liz’s narrative and creativity.
Saul Muerte
The Welder is available on digital platforms from Feb 24th.
I’m caught between minds about Skinamarink, this experimental directorial feature debut from Kyle Edward Ball. In part it leans heavily into minimalism to explore the finest examples of terror through the eyes of two children, who wake up in the night to find their father missing and strange things happening around the house. The fact that we never see the children, nor their father, with Ball stripping the viewing experience down to its bare bones and denying the audience a window into the depth of the film. Instead, the idea is to focus on the empty space, a phrase coined by theatre director Peter Brook, for his book of the same name. In it he expresses, “I can take any empty space and call it a bare stage. A man walks across this empty space whilst someone else is watching him, and this is all that is needed for an act of theatre to be engaged”.
If we take this aspect or perspective and that the space is merely a place that means nothing until something enters its domain, then it bodes to mention that Ball is willing to explore a similar concept within the location or setting of his movie. If the space is a vessel in which spirits or beings pass through, then we surely can’t connect with the space until something or someone interacts within it.
As such, the viewer is poised through endless frames of emptiness, only to be treated with nuggets of movement or sound to stimulate our senses and push the boundaries of fear.
In reality however, these absences of action only switch off our interests, and slowly the audience will struggle to remain captivated. Is this the fault of the director though, when we as a society have become so engrained in action on screen, that to take this away or prevent us from this engagement, speaks volumes about how we interact with life. If we take note of the smallest of intricacies, then and only then can we really acknowledge the beauty that surrounds us?
The question though is, Is Horror the right genre to explore such an abstract playing field? Sure, Horror has been known to be forgiving, but when it comes at the cost of engaging with the audience, then you are left pondering its purpose.
The Prognosis:
While I applaud (Director) Ball for a bold approach to filmmaking which at times is reminiscent of The Beatles own exploration of music in Revolution No. 9, the outcome is all too repetitive and a struggle to connect with. It’s hard to believe that the content has been stretched to feature length when a short would probably have sufficed, Having said that though, his experimentation would not have been explored without pushing the boundaries of time.
It’s hard as a viewer to go beyond the limits of conception when we are being forced to observe its formulation. What constitutes horror and is it enough to hint without explanation? A question that may frustrate most who come to watch.
Watching Neil Marshall’s (ahem) descent from action horror pioneer to low grade fluff has been a painful process to watch. Ever since he hit the ground running with werewolf, military action thriller, Dog Soldiers and swiftly followed this with the female empowered cave shocker, The Descent, I’ve been eagerly awaiting his next big moment to arise. Instead, we’ve seen him slowly repeat similar incarnations of these movie highlights in a decline into lesser quality. That’s not to say there hasn’t been glimmers of hope, especially with his foray into the Game of Thrones series, and perhaps it’s this that keeps on bringing me back. I should have known to be cautious however following his previous venture The Reckoning, a sadly lacking tale of witchery and persecution.
Which brings us to The Lair, an amalgamation of the aforementioned Dog Soldiers and The Descent, but instead of remote Scotland as its setting, we find ourselves in Afghanistan. And instead of werewolves or The Crawlers; cave dwelling humanoids, our protagonists come face to face with souped up human/alien hybrids that are being tooled as biological weapons.
Charlotte Kirk returns as Marshall’s kick-ass muse (as well as a writing credit) to take on our heroine Lt. Kate Sinclair. Sinclair, along with a handful of militants and an Afghan hostage, seek refuge in a bunker facility to escape confrontation only to come into conflict with the beasts below.
So far, so promising right?
The issue comes in its delivery. Yes there are action sequences on display, and a couple of typical one-liners that make you groan, the collaboration of a mix-match group, strung together to fight a common cause are all on display, but there’s nothing new on show. It doesn’t help that the dialogue is incredibly two-dimensional and clunky when delivered. When the tension shifts, the audience struggles to connect as a result and are left trailing along to what becomes a predictable and tired conclusion.
The Prognosis:
Neil Marshall’s descent into woeful movies continues to sink into greater depths. Average action, a worn out narrative, and ropeable dialogue only adds weight to his plummet.
We’ve all been there right? Coasting aimlessly through life with no set direction, happy to drift into oblivion with no real aim to find or improve our lives for the better, only to be dropped by your girlfriend for apparently having no prospects. Then you’re left ruminating and wondering if there is anyway to win back your love’s heart, but get hoodwinked by a real estate agent and his family to move into a house as a means to sacrifice oneself for a demon, just so that they don’t have to deal with the crap themselves? You’ve been there, right? Right?
Such is the premise of this horror comedy from writer, director Emily Hagins (VHS, Scare Package) who is fast making a name for herself in the off kilter genre scene. And with Jon Michael Simpson as her muse to enact the downbeat, hapless romantic character, Will, she is able to tap into a rift that is entertaining albeit hit and miss in the humour department. Oh the irony in a name, to be called Will when you have no will of your own.
Simpson (Scare Package) is ably supported by Jeff McQuitty (more known for his work behind the lens) as the faithful best friend Patrick. When Will’s girlfriend Amy (Paige Evans) ditches him as he clearly struggles to commit to anything including her, Will once again plunges headfirst into another project, by moving into a huge house and great living costs. The catch? It’s possessed by a demon. But we’ve all had that one flatmate to share an apartment with yeah?
If you haven’t, you probably were that demonic housemate.
Anyway, I digress. Now stuck with this problem, Will has to face up to his problems, one that another Aimee (Olivia Decayen), who just so happens may be able to rid the house of the demonic spirit. Can he amount himself to anything and find his place in the world or will he lose it all to the detriment of all those closest to him?
The Prognosis:
Sorry About The Demon has some moments of delight in this absurd horror comedy to make one grin, but these aren’t laugh out loud flickers of gold. There’s enough there to entertain and the performances are solid, but the characters and humour doesn’t always hit the mark.
If your looking for something to pass the time, and go in with low expectations, then you’ll be pleasantly delighted. The magic is a little lacking, and much like its lead character, happily coasts along in its own sphere, unaware of just how savage life is on the exterior when we don’t pay mind to the small details.
Saul Muerte
Sorry About The Demon is currently screening on ShudderANZ.
Those who know me, know of my aversion to the Western genre in cinema. As a cinephile I indulged in the classics especially the Ford era of which we are supposed to marvel at the sweeping landscapes, but send me into a state of lull. That’s not to say there aren’t exceptions that have lit a fuse in my love of the celluloid art, and there is intrigue to be found in blending this genre with a vampire sub genre twist.
With some of the townsfolk falling prey to a mysterious illness, and the reveal of two punctures in the neck of the latest victim we pave the scene of a nosferatu in the mix.
The Western influence throws mistrust and turmoil among a neighbouring family, where all must find a way to unite in order to rid the town of the foul fate that lay before them.
There’s the obvious love scenario two between the mysterious Drake Robey (Michael Pate) and Dolores (Kathleen Crowley), plus the hope and steadfast clergyman in Preacher Dan (Eric Fleming). All the ingredients are there to provide a somewhat entertaining tale.
All too often though I found myself drifting off and disconnecting from the content, with a lack of depth in the characters and both genres telling a tale too often told to stimulate the mind.
It was a bold approach from writer, director Edward Dein to try and merge what should be successful film categories but there’s no style or substance for that matter, so for that Curse of the Undead slips all too easily into forgettable terrain.
It’s been a far cry since Casper Van Dien declared revenge on those bug creatures in Starship Troopers for what they did to Buenos Aires, but it’s great to see him on the screen in a different guise as the misguided patriarchal figure in his latest feature Daughter.
Presented as a cult-like, claustrophobic thriller, this directorial debut from Corey Deshon has enough tension built up to fuel the oppression for Van Dien’s Father character to channel the hatred and desire for control that he upholds. And he doesn’t hold back on delivering such a taut and highly strung person; a tirade of manipulation that ripples with devastating effect through the makeshift family dynamic.
With the titular daughter (Viven Ngô) brought into the household to fulfil the requirements of a sister to the precious Brother (Ian Alexander) to play out this misogynistic and outdated answer to salvation.
Rounding out the quartet is Mother (Elyse Dinh) who also cuts a fine performance of the restrained, and fear driving matriarch, a character who shifts through the motions of obedience, self-protection, and salvation with effortless and minimal motions. Dinh along with Ngô are the pivotal characters in propelling the slowburn of a narrative through to its conclusion and serve as the juxtaposition to Van Dien’s Father. With the seemingly compliant Brother in the mix too, it’s hard to know when or who will break, as like a tightly wound clock, the springs are going to snap and all that tension will come pouring out swift and fast.
The Prognosis:
While some will feel that the pace is too restrained, and that the payoff is all too hasty, in my mind Deshon is able to craft out a painful picture of suppression through the gaze of male-dominated world. All the performances are subtly executed and deftly supported by a tightly shot sequence of events on 16mm footage thanks to cinematographer Hana Kitasei helps amplify the claustrophobia instilled throughout. You’re either going to resist the flow or glide along, but one things for sure, Deshon has made a fantastic impression in wielding his vision.
Saul Muerte
#Daughter is Available on all major Digital platforms, including Apple iTunes / Google Play in Australia & New Zealand, from February 22nd.
There is enough talent in front of the screen in what is essentially a labour of love mixed with pangs of nostalgia over Britain’s celluloid history of lycanthrope horror. There is a healthy mix of nods to Hammer Films and the Gothic films produced under their banner and the Peter Cushing style veteran performing yet another battle against evil to satiate the hounds of the genre past. The most notable homage comes in arguably the greatest werewolf feature, An American Werewolf In London, with numerous quotes and references throughout the movie.
Set in a quirky village town where a film crew has set up in an abandoned house to shoot a vampire flick, Wolf Manor takes a turn when they decide to hang back one more night to do some extensive reshoots. It just so happens that the night in question should fall on a full moon and with it the awakening of a lycanthrope appears to disembowel them one by one.
While the creative team of Director, Dominic Brunt, and writers Joel Ferrari and Pete Wild have a deep passion for the field in which they paint their narrative, it is evident that it lacks the killer punch that made these pioneer movies so great. There are moments where they try to ignite that instinctive attraction through the British wit upon which the nation has produced some comedy gold, but no matter how hard the talented James Fleet taps into that humour, it is often served cold and the tumbleweeds drift by with ease.
Despite the obvious tweaky script and gaps in depth of character, Wolf Manor does boast some nice special effects; a combination of prosthetics, make up and visual effects weaving together and grounding the supernatural elements.
The Prognosis:
I had high hopes before watching this, such is my love of the doomed lusus naturae, but it falls foul of trying to live up to and replicating werewolf features of yester-year rather than creating an identity of its own. Sometimes, you have to break free of rigidity for creativity to be unleashed. Unfortunately it took its inspiration literally, staying on the road and keeping clear of the moors. Just imagine what could have happened if it dared to stray into the wilderness.
Going from “The Next Spielberg” to being box office poison and then beyond, M. Night Shyamalan has had one of the most interesting career arcs of modern hollywood. No one else has experienced the sheer number of highs and lows as him, and going into one of his films these days comes with a hefty anticipation. Knock at the Cabin continues Shyamalan’s recent slew of high concept low budget thrillers. The film is based on the award winning novel Cabin at the End of the World (a much better title) by Paul Tremblay and follows roughly the same plot with a couple of big differences.
While on holiday at a cabin in the woods, family of three (Jonathan Groff, Ben Aldridge & Kristen Cui) are assailed by four mysterious strangers (Dave Bautista, Rupert Grint, Nikki Amuka-Bird, and Abby Quinn) who put an impossible choice before the family, testing their love and their faith: one of them must be sacrificed or the world will end. Throughout the story we flashback to little moments in Daddy Andrew (Aldridge) and Daddy Eric’s (Groff) life together and all the moments that have led to here. It’s a great chewy moral decision that is incredibly engaging.
The film is a taut and strongly performed twist on home invasion and end of the world genres. Dave Bautista is particularly haunting in this film, managing to ground the odd-Shyamalan dialogue in intense commitment and emotion. The film begins with Wen (Cui) catching grasshoppers when she spots a foreboding strange man, Leonard (Bautista), who approaches and engages the little girl in a game; it’s a deeply chilling and ominous opener. The cinematography by Lowell A. Meyer (who worked on the Shyamalan presented The Servant) and Jarin Blaschke (Robert Egger’s DOP) creates intense claustrophobia and heightens the emotionality of all these great performances, at certain moments punching in closer and closer to their faces until we can’t take it anymore. This film is up there with the best looking of his filmography, with probably the smallest scale of the lot.
The script was one of the hottest screenplays on the Blacklist a few years ago, by Steve Desmond and Michael Sherman, two newcomers in the industry. M.Night is a credited writer as well and it absolutely shows. When Shyamalan’s dialogue is in the right actor’s hands it creates a dream-like quality that fits perfectly into the worlds he creates and when it’s bad it’s Mark Wahlberg asking about What’s Happening with these frickin’ plants? In this film it’s all working on the right side of that spectrum and at only an hour and 40 minutes it’s like an oasis in an Arrakis-sized wasteland of 2 hour and 40 minute plus films everywhere you look.
The Prognosis:
I welcome this third act of Shyalaman’s career, where he’s leaning smaller, pulpier and more personally invested. He has been partially funding his films since The Visit (2015) after getting swallowed up by the Hollywood system with the colossal bombs of After Earth and Last Airbender.Knock at the Cabin fits the bill when it comes to a great Shyamalan Film; questions of faith, great performances from children, the dedicatedly unnatural dialogue, and a pitch at home in an elevator. He might not have ever reached the heights of Spielberg but he seems to have truly found the place he loves to make movies and I think the landscape is better for it.
It’s been an interesting time for Hollywood horror films. And by that we mean scary films with proper studio backing, budget, and distribution. The first two immediate examples being Smileand Barbarian, their financial success matching (if not exceeding) their critical praise. And whilst 2 such films is nicely eyebrow raising, a 3rd means when we start compiling our “Top 10 horror films of the past 12 months” we won’t be scratching our heads as we lament it has been a “thin season”. And that’s thanks – in part – to M3gan. When the trailer first came out, it looked very Hollywood generic. But here’s the thing with the age in which we live. On reddit chats and the like, there are countless examples of Influencers scamming their way through life, expecting free products and services in exchange for “exposure bucks”. But the extra kick in the balls about all that is, exposure – the right kind and the right amount – does have power. And in the case of M3gan, it was a simple TikTok video of the robot doll in question doing a murder dance. People LOVED it. Then they copied it. And then they meme’d it. And bam, just like that M3gan entered the mainstream consciousness. Even before the movie came out, people were noticing the one thing other people (ie: people familiar with the uncanny valley and/or Real Doll enthusiasts) have known for years. And that is, lifelike dolls are creepy AF. Which is interesting, because as a sub-genre, Doll Horror, isn’t that well regarded here at Surgeons
Mainly because the dolls are usually possessed (which is always a bit hokey) and smaller than your average human. And they may look unsettling (Anabelle) but for the most part they are cartoonishly ridiculous (Chucky) with their kills often played for laughs. In fact, in recent memory the last good Doll Horror was The Boy, and that was twisty in that (spoiler alert) the doll in question was just an actual doll and nothing more. And lord knows there’s been plenty of robots in movies where said robot can kill because it has a circular saw attachment, or shoots lasers or sum such. But an android with superhuman strength (why do they always make these things so much stronger than us? They just need to be physically strong enough to mimic humans in the real world, why give them the power to tear a baby’s head off!?) and has the complexion of a sex doll? That’s new. Mainly because “realistic” androids in movies and tv shows are usually portrayed by real people with (sometimes) slightly pale make up. So the unsettling/creep factor with M3gan is strong, but that alone a movie doesn’t make.
Is it any good? Well two words, Chekhov’s Gun. But to explain what that is, and a whole lot more, with his take on the movie, here’s Chris Dawes…
Ah yes, Chekov’s Gun – the age-old theatrical trope that if a prop (in this case, an incomplete boxing robot) is mentioned in the first half of a story, it must be integral to the story’s final moments (and everybody was bot-fu fightiiiing…). So all in all, is this a movie worth watching? Absolutely. Great dialogue, tight plotting, with enough gore and laughs to be both light and dark in all the right places. A solid night’s entertainment and well worth the price of cinema admission. However, my criticism is this (AND MAJOR SPOILERS AHEAD). In the back of the film, M3GAN doesn’t so much turn on her creators as go full moustache twirling bond villain. Which, don’t get me wrong, makes for some hilariously snarky lines, but it is a very jarring character transition for a robot that was to this point, fairly HAL-like in the build up to her evilness. And I am pretty sure the reason for this dramatic shift is because James Wan and Co. accidentally made the bad guy way too sympathetic compakela ared to everyone else in the opening half of the film. Because here’s the thing – EVERY ADULT IN THIS MOVIE ABSOLUTELY FRACKING SUCKS, ESPECIALLY THE PROTAGONIST. Gemma (played quite masterfully by Allison Williams) is an emotionally repressed, myopic computer nerd who, despite showing no desire for any kind of family life, inexplicably demands that her recently orphaned niece (the child of her estranged sister) stay with her instead of her grandparents; makes no accommodations to her living situation to fit her niece in, neglects her while she goes through the worst possible kind of trauma, and only starts to see her as worth paying attention to when it’s clear she can serve as an in-house focus group for M3GAN’s (a children’s toy designed with the combat prowess of John Wick, mind you) commercial prospects. Off the back of that, once she makes the classic psycho-robot programming error of giving orders with ambiguous parameters (ie: protect the niece from all forms of physical and emotional harm) you absolutely understand why M3GAN goes the full death machine on the raging band of jerk-offs that are Gemma and her employers at the Funki Toy Company. Frankly, you are cheering her on. But that of course would make M3GAN’s inevitable defeat (or is it? DUN DUN DUUUUUUN!!!) unsatisfying for a popcorn picture vibe (The bad guy can’t be the good guy! What is this, a European film???). So M3GAN, who is to this point the only character who has shown the niece any kind of emotional support (in a gut-punch of a scene that got some genuine sniffles out of the audience), suddenly becomes Chucky, and it took me out of it a bit. Having said that, it’s still a hell of a ride. And Chekov’s boxing bot is kickass! And now back to Ant Yee for the prognosis…
The Prognosis:
M3gan is a fun film. For horror buffs it’s not at all scary or gory, and as a hook, the premise and descent (into “madness”) of the titular character isn’t all that original. But it works and is very enjoyable, and a lot of that is thanks to the remarkable performance of the 2 actors Amie Donald (body) and Jenna Davis (voice) who bring her to life. That and the animatronics and the design work that went into her. That was a home run too. Worth a short victory dance in fact.
i NB: In no way does M3gan actually resemble a sex doll – apart from being made up of the same weird rubbery silicon skin. (Surgeons of Horror legal disclaimer fulfilled).
Surgeons of Horror 