As the first quarter of an hour rolls by in Damien Power’s sophomore outing in the director’s chair, I was immediately lulled into a false sense of security and my expectations of what lay in store was grossly misunderstood on my part. I should have known better, as Power has more than proved himself in the dark thriller terrain with his debut feature Killing Ground; a must watch if you haven’t caught it yet.
Part of my initial interpretation of the early moments in the film fell to my preconception that I had the movie pegged, or should I say the character Darby Thorne (Havana Rose Liu) sussed as the down and out recovering addict, stuck in rehab without much care for the world around her. So far, so two dimensional.
The trick that Power pulls off here is that nothing is what it appears to be, and no one should be judged on face value.
When Darby hears that her mother has been taken to hospital, she breaks out of rehab, steals a car and hightails her way to try and be by her side, but as the film’s title suggests, to escape is easier said than done. And our demons will always be with us unless we face up to them. Sometimes that takes a crisis to occur in order to shift the balance towards resolution, for good or ill.
The barrier in this instance to Darby’s goal comes with a heavy snowfall and she is encouraged by Corporal Ron Hill to take refuge at the local visitor’s centre until the weather blows over. Begrudgingly she does so and encounters four other refugees seeking shelter; married couple Ed (Dennis Haysbert) and Shandi (Dale Dickey), Ash (Danny Ramirez), and Lars (David Rhysdal). Naturally, when strangers meet there is the awkwardness thrust upon them as they are forced to share the space together. The icebreaker comes in the form of a came of ‘bullshit’; and with it the symbolism inherent throughout where they must try and work out who is telling the truth and who is harbouring a dark secret.
Darby then uncovers one of these secrets when she unwittingly finds a girl tied and bound in the back of one of the vans outside. Now she must work out who is behind this kidnapping and find a way out of this snowbound nightmare.
The Prognosis:
Once again Damien Power proves masterful when it comes to directing a thriller that pulsates along with gripping unease. The balance of power shifts and undulates throughout the film leaving the viewer pondering if there will be any rest for our protagonist. If Darby is to have any hope of doing so, she must battle tooth and nail to do so.
While it falls short in some places, No Exit offers enough ebbs and flows to keep you entertained to its conclusion.
Saul Muerte
No Exit is currently streaming on Disney Plus in Australia
When I first heard about The Scary of the Sixty First I was intrigued about the premise and highlighted it as a must watch for 2021. Living in Australia sometimes means that things slip through the cracks during the time of global release. Thankfully though, the streaming platform has picked up the slack in some cases and TSOTSF has been released through their Exclusive and Original content. Unfortunately the anticipation didn’t live up to my expectations.
I had heard comparisons to Stanley Kubrick’s Eyes Wide Shut and 1970s thrillers of which Roman Polanski was such a prominent figure in. These collations are far-reaching I fear, as these auteurs of the the celluloid craft are some of the greatest, and with all due respect to Director Dasha Nekrasova, this is her feature debut, and while their are elements of appeal to her final cut, there are flaws to her offering that can’t quite allow her to fall in with such pedigree.
The film setting takes place in the Upper East Side of Manhattan where two women, Noelle (Madeline Quinn) and Addie (Betsey Brown) move into an apartment with ominous ties to Jeffrey Epstein and his nefarious sex trafficking activities. This subject alone is hard to connect with as a viewer and Nekrasova forces us to endure the provocation that such a subject carries with it. Always a hard subject to explore and pose thought around, and Nekrasova doesn’t shy away from tackling this and the trauma that surrounds it head on. It’s probably the reason she cast herself in the role of The Girl, who is investigating the issues around Epstein’s activities and the apartment in question.
The narrative then takes us through a cobweb of fractured moments surrounding the three women as they explore, investigate or come under the influence that the strange apartment block and a hidden energy that possesses them at various stages throughout the film. By the journey’s end the murkiness lifts if but for a moment to try and tie up any loose ends, by this stage though, the wading through the mystification has been hard work and the audience is left feeling stagnant by the subject and the effort to shock or shake a response from us.
The Prognosis:
Dasha Nekrasova tackles a tough subject for her feature film debut before the lens. There are moments that intrigue, but all too often the film struggles through disillusion and bewilderment, that forces us to disconnect with the material.
Yes, we should definitely keep Nekrasova’s name on your watch list, but for now this film gets lost in confusion and drowns in a topic that may be too tough to develop for a first time director, not that the subject should be ignored all together.
Wes Craven: The Scream Years Part 7 – My Soul To Take (2010)
Wes Craven’s penultimate movie before his untimely passing would be the first time directing, producing, and writing a feature since A New Nightmare.
Where A New Nightmare would be leagues ahead of its time, setting up a metaverse (no, not the Zuckerberg kind) that still stands up today, My Soul To Take struggled with what was essentially a weighty vision from the horror auteur.
The title taken from the prayer, Now I Lay Me Down to Sleep, once spoken with eerie effect by Nancy Loomis in the Nightmare franchise.
So, looking to repeat the success with a new world as his playing field, Craven had to first set up the rules from which to create within. Here is where the problem arises. The playing field in question is one that Craven likes to explore in as suggested by his previous films and his love for the psychological state of the human mind.
The subject in question is a little hard to connect with in the first place (no pun intended), as it deals with a man who has Dissociative Identity Disorder. We then witness said man discover that he is the Riverton Ripper and responsible for the murders of several people. In his unhinged state, he murders his pregnant wife and his psychiatrist before being gunned down.
But on the way to the hospital, he then goes on the rampage once more killing the paramedic (Danai Gurira), but is final killed when the ambulance crashes and explodes into a gulf of fire.
All of that is just the prologue to the film, setting up the narrative years later, a significant anniversary since the Riverton Rippers death. We then meet the Riverton seven, a group of teenagers who were all born on the same day; a group of stereotypical misfits, harbouring different personalities that will in turn form the resurrection of the Riverton Ripper once their souls are taken. But which if them has the soul of the serial killer possessed to slowly kill off their number one by one.
The prime suspect is Bug (Max Thierot – Bates Motel), a shy and timid person who often finds himself on the outskirts of the social scene because of his nature. The only exception is his best friend and loser, Alex (John Magaro). The fact that Bug keeps having these episodes and visions, throws him further into suspicion even from the audience’s perspective as we journey to the climax.
It’s a decent enough concept but a convoluted one, as with seven personalities, it’s hard to attach ourselves to any within the timeframe, especially once the exposition is delivered.
The pace of the movie is also slow which adds to our detachment. Perhaps the screenplay needed more work to flesh out these flaws but the final product, leaves us waning from its core. This is understandably why it didn’t resonate with its audience and has fairly low Rotten Tomatoes score.
Having delved into the early 80s Lucio Fulci scene last year with podcasts on City of the Living Dead, Black Cat, The Beyond, and The House by the Cemetery, casting the Italian auteur as the director whose films I most watched last year, I was eagerly anticipating sitting down to watch his next venture, The New York Ripper.
The afore-mentioned movies had made me a fan of Fulci’s work and as such I had grown to admire his blend of humour and gore.
Originally TNYR was given to Ruggero Deodato to direct before being passed across to Fulci. Deodato would eventually make the movie in his own steam under the title Phantom of Death in 1988. The tale is set in the big apple, although the interior scenes would still be shot in Fulci’s homeland of Italy. These exterior shots of Americana though would stem away from the style and images that we would have become accustomed to in the work that had elevated Fulci into the limelight. What we are left with is a stark, and oppressive look at the underbelly of the States, there is no glamour or shine, just straight up nastiness, where women are subjected to misogyny at the hands of the slasher scene.
The police investigation that initially lures us in as Lieutenant Fred Williams (Jack Hedley) is handed a murder case involving the severed hand of model Anne Lyne, is driven with care and precision. We’re hooked by Hedley’s performance of a downbeat cop, worn down by his years of service. This combined with the follow up murder of a young woman on the ferry, shot in typical pov that has become generic for slasher films, also gets us shifting to the edge of our seats, but from here on in, the film starts to come off the hinges, through a convoluted and messy plotline. The narrative becomes jagged and ripped apart, only to be stitched back together in a form that doesn’t quite connect in the right places, leading us to a conclusion and its explanation surrounding the motive, a weak attempt to wrap things up. There are moments throughout the film that resoundly resonate with Fulci’s macabre mayhem on screen and ordinarily I have clicked with the scenes he has subjected his audience to in his previous films. In this instance, however, it feels like he has overstepped the mark of taste and placed us in an uncomfortable world. This world may suit some lovers of this sub-genre, but without the style, the substance becomes too forced and disconnected.
There was a 21 year absence on the screen for Ash Williams between Army of Darkness and Evil Dead (2013), but the appeal of this character would generate a three season arc in Ash vs the Evil Dead shortly after, such was the hunger for more. Behind Ash’s charisma though is the actor who portrays him, Bruce Campbell has drawn people into his aura ever since. So it is probably no surprise that Black Friday would be the seventh most pirated movie Stateside at the time of its release last year.
As the name would suggest, this horror comedy feature would be a sweeping, tongue-in-cheek stab at consumerism at its worst.
Our story centres on the storefront workers of a generic All-Mart store ahead of the biggest shopping event of the year across Thanksgiving weekend. There are real-life tales of just how barbaric these days can be, but the horror will take on new means as a mutant, parasitic organism lands at said store, and begins to consume both workers and shoppers alike.
The ragamuffin staff must learn to put aside their differences to not only keep shoppers at bay, but also fight for survival and somehow make their way out of this nightmare.
Campbell’s chops are fairly sedate in this one as the store manager and play-by-the rules kinda guy, Johnathan Wexler. A man that despite his appearance, truly does care about his co-workers.
To beef up the cast, we have some strong players too, with Devon Sawa (Hunter, Hunter) as Ken, a down-and-out family man who is now separated from his wife and struggling to still be a dad to his two daughters; Ivana Baquero (Pan’s Labyrinth) as hard-hitting, streetwise Latino, Marnie; bumbling newbie, Chris (Ryan Lee) and takes-no-shit, and guy who gets things done, Archie (Michael Jay-White).
Amongst them, they must learn to vanquish this entity that seems to take over its hosts, and keeps on mutating to eventual epic proportions.
The prognosis:
The effects are pretty decent, and the acting is solid, but the laughs are few and far between and not even The Chin himself can lift this movie beyond mediocre.
This B-Movie inspired film doesn’t disappoint as far as keeping you entertained but neither does it deliver anything new or inspiring to lift its grisly head in order raise the roof, happy to sit in its own comfort zone.
If you’re looking for a bit of entertainment for the night with pizza and whatever your poison may be, then this will satisfy to a degree, but don’t expect anything outside of the box.
Just when I thought that I couldn’t fall more in love with the Giallo scene, I stumbled across this gem.
Directed by Sergio Martino, All The Colours of the Dark celebrates its 50th anniversary this year and is simply sublime.
Often overlooked and wrongfully compared with Rosemary’s Baby, purely for its association with the occult and horror entering into the suburban household.
Since then. ATCOTD has been struggling to pry itself free from this shadow.
This is a shame because the film lives out to the Giallo name with it’s slick and decisive visuals, peppered with a convoluted story around the psychological state of mind.
Our lead protagonist and potentially unhinged lady, Jane (Edwige Fenech) has just cause for her trauma, with her mother tragically dying when she was just five years old and recently losing her baby, it’s no wonder that life has weighed down on her soul.
When she starts to see a strange, blue eyed man following her, those closest to her, Jane’ sister Barbara (Nieves Navarro) and James’ husband doubt her story, passing it off as a psychotic state.
With no one believing her, not even her doctor, and with Jane’s nightmares of a knife-wielding man becoming all too real, she turns to a neighbour and potential confidante out of the doldrums of suburbia.
Willing to try anything, Jane’s neighbour entices her to attend a black mass and from here on in her troubles amplify.
There’s plenty to tantalise here, with seduction, betrayal, bloody killings, and a satanic cult. Martino crafts a sublime story with stunning, over-the-top and at times psychedelic visuals.
I can’t wait to delve into my next Giallo film off the back of this.
Shudder’s latest movie to hit the streaming platforms Exclusive and Original content is a triage powerhouse of creativity. Written and Directed by John and Zelda Adams, and Toby Poser (the latter of whom also take on leading acting duties) weave a coming-of-age tale of witchery.
Toby and Zelda play the mother-daughter dynamic, secluded in the mountainous range of North America, harbouring a secret that has been passed down from generation to generation.
Their seclusion from society is for good cause, and the mother (Toby Poser) at first comes across as over-protective and even sinister as early events unfold. She even tries to feed her daughter’s interest in music by forming a rock band consisting of just the two of them. By the stories’ end, we discover that there is a method to the matriarchal madness.
As Izzy (Zelda Adams) ventures further away from her abode and her mother’s grasp, the more she begins to discover herself but at what cost? Her first encounter is with Amber (Lulu Adams) who unbeknownst to her at the time has snuck into a neighbouring house to use their pool. There is an awkwardness to their encounter, harnessed by Izzy’s own fumbling curiosity. Izzy survives through the help of small talk and some of the quirky facts that she produces but like any dormant threat buried deep beneath the surface, there will be an explosion of emotions and ferocity that she may not be able to contain next time around. As her confidence grows, so does the power she tries to contain within.
The prognosis:
While there are elements that are trying to hinge on the independent mantra, feeling a little strained in its delivery, there are some notable moments that seep to the surface, making this a worthy film. It also demonstrates enough appeal to place the directing trio of Adams, Adams and Poser as names to keep an eye out for.
Both Adams and Poser also deliver strong performances to keep the audience engaged and willing to see how the balance of femininity will unfold.
To say that I went into Studio 666 with low expectations would be a gross understatement. Foo Fighters are hardly known for their acting prowess, and their promise to deliver a horror comedy seemed to be a tough act to deliver. Despite this, I was still lured in. Why was this?
Well, it has to be stated that Foo Fighters marked a significant point in my music journey through the 90s, and while their production output has been questionable of late, with some, including myself, thinking that the ink has started to run dry in their creativity, this rock outfit has been entertaining for many years now. They are entertainers and it is inherent in their bones. So, was I entertained?
To begin with, my doubts doubled with a slightly cringy approach to getting the band into the studio house of horror with the guise of recording their 10th album. The creeks were deafening, and the horror tropes were overwhelming… but…
The further they ventured into the world, the more the bands’ characters and appeal began to shine. The jokes, which some critics have baulked at as being juvenile, genuinely had me laughing out loud. Something I didn’t predict at all.
And then there’s the music, but not from the area that you would expect. The composition to the score is in the hands of a horror maestro, John Carpenter. As soon as those pulsating rhythms take hold, you know that you are in safe hands when it comes to someone of his ability orchestrating the score. And what’s more, we even get a treat to his presence on screen in a truly apt cameo.
This alone is an indicator of just how well Grohl and the gang know their genre because there are some great nods to auteurs of the past. And possibly the greatest playing card in their final product, is the brave attempt to cast a light on the Foo Fighters darkest characteristics, mainly centred on Dave Grohl’s ego. Here is a man often cast as the nicest man in rock music, and yet there is a bubbling undercurrent that there is too much control going on. What Dave Grohl says goes and no one dares cast their wind against him. Foo Fighters has always been his vision, and with so much of a tight grip, there has to be questions about how the rest of the band react to that. This is the vein of the film and Grohl is not afraid to cut this open and expose the inner truths and turmoils lurking within. In doing so, Studio 666 throws both dark and light into the mix, combining these moments of calamity with comedy that zings.
The prognosis:
Yes, it was over-the-top and delivered on a huge platter that was hard to swallow, but they kept on entertaining and produced a fun-filled film.
They are not actors, but neither were The Beatles. Similarly, Foo Fighters have giving us a highly enjoyable film that projects their characteristics to the fore.
Wes Craven: The Scream Years Part 6 – Red Eye (2005)
Released in the same year as Cursed due to that movie’s troubled production schedule, Red Eye would prove to be a definitive shift into the positive from Wes Craven and is possibly one of my favourite movies of his towards the latter end of his career. The plot itself was a simple one and Craven utilised his expertise to create a psychological thriller that would keep the audience on the edge of their seat and rest on the brilliant performances from its leads Rachel McAdams and Cillian Murphy, who have the lions’ share of screen time between them.
McAdams plays a hotel manager, Lisa, who will be the unsuspecting pawn at the hands of Jackson Rippner (Murphy), a terrorist with his eyes on manipulating her with aim of assasinating US Deputy Secretary of Home Security.
Rippner initially lures Lisa in with his charming demeanour as they have a ‘chance’ encounter before boarding the red eye flight from Dallas to Miami. This appeal soon turns to revolt when his intentions come true, along with the threat on the life of Lisa’s father (Brian Cox).
From here on in, Craven puts us through the wringer as Lisa and Rippner attempt to swing the pendulum of power in their favour. Not an easy feat when the first half of the movie takes place in the small confines of an aeroplane cabin.
This is a testament to Craven’s ability as a director to keep the plot on point, whilst wrenching up the tension with timely poise, lifting the script off the page and onto the screen seamlessly. The focus of the movie is to keep the pace moving, and to entertain for good measure and despite some critics stating that the movie takes a drastic fall towards the climax, I personally feel that it plays out well and could easily revisit the movie again and still find that same joy.
Despite some reluctance from the stars, Bud Abbott and Lou Costello’s light was starting to wane in the public eye, and along with their contract through Universal were tied to another outing; one that would preserve their initial encounter with the Production house’ monsters into the National Film Registry for its historical significance. That film would be…
Abbott and Costello Meet Frankenstein (1948)
Here would mark a turning point for Universal, who had made a great deal of success through the 1930s for their Gothic line of Universal films. This notable change would occur at a time when the inkwell was running dry, and the Production house would be looking for alternate ways to capitalise on their winning formula by subverting the genre from horror to comedy. This transposition would not be treated in kind, especially from Lon Chaney Jr, who would proclaim “Abbott and Costello ruined the horror films: they made buffoons out of the monsters…” His words would hold deeper meaning for the future of Universal’s horror genre, which by the end of the 50s would be all but non-existent. Despite this and during the time of its release, the film would go on to be one of the most successful of the Frankenstein franchise.
In Meet Frankenstein, the comedy duo would be pitted against The Wolf Man (Lon Chaney Jr), Dracula (Bela Lugosi – who would actually speak favourably of the depiction of his most known character), and The Monster (Glenn Strange) to keep alive the buzz generated from their monster universe. It even boasts a cameo from The Invisible Man in the film’s climax, voiced by Vincent Price.
A lot of the movie revolves around pantomime tricks and scares but brought to life by the comic timing of Costello who falls prey to the “cry wolf” syndrome, despite his cries being genuine, combined with Abbott’s straight man routine. Despite my ambivalence towards the movie, as in heart I echoed Chaney Jr’s sentiments, the film would still holds a strong position. The looks to camera breaking the fourth wall was a joy to watch, and the formula would generate s further four movies for Abbott and Costello in the Universal Monsters universe. The first of these would be…
Abbott and Costello Meet The Killer, Boris Karloff (1949)
Rounding out the 40s, Boris Karloff was the only notable star absent from the previous movie, although he was paid to promote it, and was also reluctant to watch it. Karloff was hired only five days before shooting began, the role originally a female called Madame Switzer, and would play that of a swami with mysterious intent. I thoroughly enjoyed this movie, a whodunnit where Costello’s bellboy Freddie becomes the prime suspect in a murder. And when the body count starts to pile up, he can’t seem to get rid of the corpses to clear his name. This would lead to a hilarious scene where Costello and Abbott (supporting him to prove his innocence as detective Casey) play a game of cards with some of the cadavers.
Lenore Aubert is also brought in to support, as the femme fatale Angela Gordon. This continues a theme from Meet Frankenstein where the female costar attempts to seduce Costello, much to Abbott’s chagrin.
Abbott and Costello Meet The Invisible Man (1951)
Having dangled the imperceptible carrot in Meet Frankenstein it was inevitable that Abbott and Costello would come face to face with the Invisible Man. This time our anti-hero is played by Athur Franz as Tommy Nelson, a boxer who is framed for the murder of his manager after refusing to throw a fight. Out to prove his innocence, Tommy steals the invisible formula from scientist Dr. Gray (Gavin Muir) who warns him of the dangers of the serum and the effects that brought about the ruin of Jack Griffin.
Abbott and Costello enter the scene as private detectives by Tommy during the investigation and become embroiled in the mystery leading Costello’s Lou Francis to go undercover as an underdog in the boxing scene aided by the invisible Tommy to help him win the fights.
Sandwiched between this feature and the next Universal confrontation would be Abbott and Costello Go To Mars, another indication of Universal’s departure from the horror scene and into the world of science fiction, which would be in tune with the popular zeitgeist of the time.
Abbott and Costello Meet Dr. Jekyll and Mr. Hyde (1953)
Abbott and Costello’s fourth outing in the Universal Monster scene drawing inspiration from the Robert Louis Stevenson novel and are cast as American detectives in Edwardian London following the pursuit of some murders that have taken place, allegedly by Dr. Jekyll, played by Boris Karloff. The Hyde counterpart would be portrayed by stuntman Eddie Parker.
Interestingly, there would be no transformation scenes, instead depicting both Jekyll and Hyde individually, and fuelling the idea that there is no good at all in Dr. Jekyll, who yearns for the misdeeds performed by his alter-ego.
The film itself would also show the cracks beginning to form in Universal’s marriage with the comic duo, with signs that the humour was running dry, resorting to slapstick performances. There would however, be one more feature before Abbott and Costello would bow out of the comedy / horror scene…
Abbott and Costello Meet The Mummy (1955)
28 movies into their working partnership for Universal-International, Abbott and Costello would play against the last of the production house monster’s, the mummified Klaris (Eddie Parker). The comedy duo find themselves in the midst of an archaeological feud between Semu (Richard Deacon) and Madame Rontru (Marie Windsor) for the treasures of Princess Ara and control over Klaris.
Abbott and Costello would continue their usual comedy schtick but here it sits well as they bumble around Cairo. It is somewhat fitting that they could lay their comedy horror routine to rest amongst the Egyptian tombs. Their routine by this time is becoming stale and trying. They would eventually part ways in 1957 albeit amicably.
Surgeons of Horror 