And there’s plenty to like about this French horror thriller from director Patrick Ridremont.
Eugenie Derouand stars as Eva, a paraplegic who receives a mysterious box in the guise of the titular advent calendar from her friend Sophie (Honorine Magnier). As expected with ominous gifts with offers of treats that stretch from confectionary to real life rewards, there will be repercussions. The question though is whether the benefits outweigh these hindrances? How much is one willing to salvage for a better chance at life? For Eva, this temptation proves too great, but how far is she willing to go?
There are three rules to follow.
Eat all the chocolate… Or die.
Do every task given… Or die.
And don’t dump the advent calendar… Or…you guessed it. You die.
The premise is pretty straight up and the performances are solid across the board, allowing the viewer to step into the narrative easily. We’re even presented with a nicely stylised creature who lurks from within the box and comes out when rules are broken or when sacrifices need to be made. This helps ramp up the tension suitably, hooking you further into the drama. And sure enough when things go sour, it does so that stays firmly in believability. A tough thing to do when you’re playing in the realms of fantasy.
The prognosis:
A solid feature with some nice moments that entertains despite some predictable moments.
It helps that the performances from the leads are strong to fuel the the loss of control as the drama unfolds.
Saul Muerte
The Advent Calendar is currently streaming on ShudderANZ
On paper, this movie reads like the perfect recipe for a haunted house drama. We follow musician, Catherine (Teagan Johnston), who is looking to tap into musical musings as she delves into a creative spell to produce her latest album. In order to do so, she retreats to a secluded cottage in the middle of nowhere. While there the audience is promised that Catherine is going to be attacked by a mysterious dark presence. What we are presented with however are long drawn out sequences where Catherine tinkers with the ivories.
Some have argued that part of the film’s beauty is through the cinematography and the slow burn descent of Catherine’s journey into her creativity and the threat that isolation has on her soul. Equally though, one could debate that this journey ironically renders the journey, soulless.
It’s perhaps no surprise that the film is presented in such a way when you look at the type of artist that Teagan Johnston is. Johnston’s music is typically filled with a raw energy that is deliberately haunting in places, and this stripped down approach is evident also throughout the film which is essentially a showpiece for Johnston’s work and an insight into her creativity.
The problem is that this kind of film, with its high art concepts, struggles under the weight of its premise and there’s a difference between a slow burn and the smouldering ashes of a near dormant fire. It simply doesn’t connect with its audience and pushes them away rather than draws you in.
The Prognosis:
Possibly one for followers of Teagan Johnston’s music and creative expression. For me though, it’s a massive misfire and one of the hardest movies that I’ve sat through this year.
Too slow and with nothing really to say other than to wallow in melancholy.
Having recently delved back into the hive with Paul W. S. Anderson’s Resident Evil imaginings, a total of six films to date either in the director’s chair or serving as an Executive Producer, I began to wonder if the Milla Jovovich’s Alice character had potentially killed the film screen franchise. Don’t get me wrong, when the original feature was released back in 2002, I was hooked by both her and the film’s appeal. Time however has not been kind and the feature suffers a little with age, pushing it into watchable terrain, rather than a don’t miss out classic. It doesn’t help that the five films that would follow (which at first leant weight to the premise) has been dampened by the twists and turns, and creative license taken in order to keep the franchise alive. In their progress to elevate the franchise, the creative team had inadvertently… infected it… ahem…
So, rather than put a band aid over it, and march on regardless, the only choice left was to give it the dreaded reboot. But will this be for good or ill?
Without Anderson at the creative helm, the Director’s chair is left vacant for someone to breathe new life into the survival action horror that coined the term. In many ways the successor, Johannes Roberts was the perfect choice having an uncanny knack of tapping into the nostalgic vein, especially with The Strangers: Prey At Night. At least when it comes to invoking the music and creating some wicked soundtracks along the way. Here is no exception as Roberts presents a film that satisfies that old feeling that was conjured up for those who lived the original experiences. Roberts is also a master at creating atmosphere, again witnessed in his 47 Meters Down film series.
The soundtrack from the game that Resident Evil is based upon hums nicely in the background to help scintillate those senses. Combined with the characters and the setting of Raccoon City that made the game such a household hit. These characters from their kernel structure is a welcome sight with Special Tactics And Rescue Service (S.T.A.R.S) playable characters Chris Redfield (Robbie Amell) and Jill Valentine (Hannah John-Kamen); double agent Albert Wesker (Tom Hopper); rookie Leon Kennedy (Avon Jogia); Claire Redfield (Kaya Scodelario), who serves as our main protagonist returning to Raccoon City to face olde demons and getting more than she bargained for; and a host of other cameos along the way including a sneaky one at the end so make sure you stick around for that.
The Prognosis:
While it was cool to have these moments of yesteryear created on the big screen, with a notable stand out scene from rampaging zombies inside a darkened Spencer Mansion, lit up by gunfire… a nice touch. The problem though and behind the rose-tinted glasses is another case of style over substance. The characters are present, but there’s not enough development beneath the surface as they tick off their action sequences before moving onto the next one. And while there is the odd atmospheric moment, it doesn’t go much beyond the chords of Moonlight Sonata.
It’s strangely odd that despite six installments, this reboot had to retread old ground to find its feet again, and in doing so becomes a bit of a misbeat. It entertains enough but falls short of making a significant mark.
Possession marks one of those unsung movies from the early 80s that oozed its way along the grapevine, causing the occasional ripple among viewers and critics alike across the years. Recently the film celebrated 40 years since its release and is now considered a cult classic among some. Ashamedly, it is a movie that passed me by and I only recently caught the film in time for its anniversary. In a way, it’s not too surprising that I missed out on its initial release as it was criminally shafted into the video nasties group that so many were subject to at the time and perhaps the reason why it has become something of a forgotten gem.
Recently to commemorate this feature, Umbrella Entertainment released a Blu-ray/Dvd edition as part of their Beyond Genres collection and it’s jam-packed with over 4 hours of extra footage which I’ll list at the foot of this article.
So, why does it deserve such recognition?
Possession is a visionary film, where every scene is a spectacle and eviscerates the human soul and exposes every ounce of humanity at its most controlling. All the characters strive for power and control and with every movement, vibrating, convulsing, and straining to reach resolution but bound to repeat the cycle of events all over again. This raw energy stems from Director Andrzej Zulawski who would draw from personal experience to write the screenplay, and the anger and vitriol is part of what we see evicted onto the screen.
Fueling these emotions is an incredible leading cast in Isabelle Adjani in her dual role of Anna, a domestiecised and sexuallay repressed wife, and Helen, a teacher and picture of innocence and virtuosity. Sam Neill also stars as Mark, a spy with a mysterious connection with the political underbelly of Eastern Europe, and a man who is set in his time, expecting that his home life should remain in a certain state and not alter. Threatened by change and a loss of identity, Mark constantly is fighting to remain at the heart of all that surrounds him, tightening his grip, only to watch it slip further from his grasp.
There are many levels that are at play here, which elevates the movie into highbrow territory, none more so than the depiction of a city under political unrest with the physical divide between Berlin’s East and West. The constant threat of destruction in a world hinged on uncertainty. There are a series of doppelgangers at play too with Adjani’s Anna/Helen characters and Neill’s two versions of Mark, where one version symbolises all that is wrong with humanity, and the other, all that seems right, a yin and yang of balance and imbalance. The viewer is placed at the epicentre of the carnage. As the characters fight for their ideological past, they rip apart their very surroundings destroying all that once was. The infamous scene in the underground passage where we bear witness to Adjani’s electrifying performance as Anna experiences a violent miscarriage, is one of the most brutal scenes that I’ve seen on screen. This scene alone is a dark and disturbing depiction of the core being ripped out due to the trauma and conflict that humanity subjects itself to. Infused with cutting edge creature effects that would fit perfectly in any Cronenberg feature, spearheaded by Italian special effects maestro Carlo Rambaldi (Alien, Deep Red).
By the films conclusion as the world seems to be setting itself right again, we’re left with a dubious outcome with Mark and Anna’s son Bob in the wake of turmoil, afraid of both his ‘parents’ and the sounds of war and destruction in the background, a sign that we are all doomed to repeat the same mistakes over and over if we insist on our ridiculous pursuits of perfection; possessed by this ideal and obsessed with fulfilling our desires, unwilling to relinquish control.
For more thoughts and discussions on Possession check out the Surgeons of Horror podcast here:
Celebrating 40 years since it’s initial release comes this exploitation flick from Director William Asher, can now be considered something of a forgotten gem, with some marked commentary on homosexuality, the oedipus complex, and twisting our expectations of the slasher genre.
It’s a curious tale that plays to the extreme and borderline incestious protection of an estranged mother figure towards a nephew. It is this relationship that borders on the strains of inappropriate behaviour.
The story is focused on Billy (Jimmy McNichol), a basketballer with promise of a future career in the sport is held back by his Aunt Cheryl (Susan Tyrell) in order to contribute to maintaining the house; a guide for fuelling her sexual desires.
Things turn sour when Cheryl invites local repairman, Phil to fix their tv set, she ramps up her lustful needs by forcing herself upon him. When this is not received in kind, Cheryl turns to rage, murdering Phil in cold blood. This is witnessed by Billy, so Cheryl tries to convince him that it was self defence as Phil was trying to tape her.
The story doesn’t wash up however when it’s revealed that Phil is gay, leading chief detective, Joe Carlson to believe that their is a love triangle involved between Phil, Billy and the basketball coach, Tom. This throws Billy into suspicion as a possible suspect, which isn’t helped by Joe’s narrowmindedness.
In the reversal of damsel in distress horror tropes, Billy is on the receiving end of evil pursuit and his only ally at this stage appears to be his girlfriend Julia. This relationship itself puts Julia into the firing line from Cheryl’s jealousy and amps up the complexities of the interweaving narratives towards a bloodied and crazed conclusion.
There is a heck of a lot of social commentary on display here disguised as an exploitation horror flick, which is why the film probably deserves more attention and love that it received. Yes if alls into shlocky territory, but the entertainment and intellifence that is on display is well worth your time.
Saul Muerte
Butcher, Baker, Nightmare Maker is currently screening on Shudder.
On paper, this flick leaps off the page with it’s fierce title and promise of a pack of motorcyclists like the infamous Hell’s Angels who are consumed with lycanthropy. It feels like the kind of movie that would be jam packed with ferocity and lascivious behaviour. Unfortunately this proclamation couldn’t be further from the truth as the viewer is presented with experimental filmmaking as was typical of the early seventies, and a meandering of hope in pursuit of the boundaries of humanity.
In many ways, this could be depicted as a variant of those who challenge authority and question the American Dream through the eyes of outlaws who take up more than they bargained for when they encounter a curious cult. These hooded priests lead them into a deep, drug infused state, where they lose all senses, and have a curse placed upon them. Once infected, members of the gang start to turn into werewolves at nightfall, rampaging through the vast landscape.
The film escalates as the lead players try to find an end to the curse, only to be thrust into a time loop, throwing everything into question.
I’m usually a big fan of experimental filmmaking but this one left me trailing in the wind like a tumbleweed being tossed around in no man’s land. I really wanted to connect with this film, and there were elements that could easily have drawn me in. Instead though, there wasn’t enough substance for it to pay off, and appeared to focus on resting on its premise, with an Easy Rider’s vibe. A missed opportunity that could warrant another rewrite, with an amped up narrative that lives up to that cracking title.
I’m a huge fan of James Wan’s previous work and in particular when he skews his lense with horror gaze.
There’s little wonder that he has so finely tuned his craft that franchises have been born from his visions, be it Saw; Insidious; or The Conjuring. I have no doubt that given the box office pull that Malignant receivedthat there is a high chance that this too will go through similar motions.
There are a number of critics that have lapped up this latest outing from Wan, citing it as a bonkers masterpiece, but I personally struggle with this depiction, as my response to the film was one so jarring and disjointed that I felt constantly thrown out of the narrative, grappling to find something that I could connect with.
I guess that this detachment I felt was primarily the same reason that some people were praising the film. Wan and screenwriter Akela Cooper have fused a number of subgenres together to create a unique style in their storytelling. One of the most notable of these subgenres is giallo; an italian thriller and visually stunning movement that was spearheaded by Dario Argento, Mario Bava, and Lucio Fulci to name but a few.
I can’t fault the attempt in developing these styles to create what appears to be its own thing, and perhaps this is where the applause comes in, but scratch beneath the surface, the film suffers for having more style than substance. The narrative just doesn’t stick and the dialogue is incredibly ropey.
The concept itself reminded me of a hyper-realistic version of Stephen King’s The Dark Half with the whole conjoined twins thing, where the rejected disembodied twin’s dark energy resides from within, drawing forth all its negativity to enact revenge against those who conspired against him.
In this instance, Maddison (Annabelle Wallis) is having nightmares of people being killed only to find that the next day that these dreams are reality. She is also on the verge of a breakdown, where she is slipping from the world and questioning everything that is going on around her. We slowly learn that there is more than meets the eye with her visions, and Maddison along with her sister, Sydney Lake (Maddison Hasson) try to uncover the truth behind it all, Their quest leads them to a crazed and unthinkable conclusion that may put both their lives at risk.
The Diagnosis:
At its heart, Malignant is heralded by a visionary director in James Wan, who continues to push the boundaries of filmmaking. And here he presents a palette of genres in the offering.
The result however is a curious mix that never fully resonates on screen; a case of where the heart and mind doesn’t necessarily communicate with each other.
There are glimmers of brilliance, but too often this is overshadowed by the visual flair which is laid on thickly, It comes down to a question of taste, and for me, for once Wan’s latest outing was too hard to swallow.
It seems an age ago when David Gordon Green and Danny McBride did the impossible and reignited a struggling franchise, bringing a much more brutal Michael Myers to the screen in Halloween.
The main question posed to the creative team here though is, could they repeat the success of its predecessor?
1. Identify the ideas, themes & executional elements that make the first film great. Or at least good. Or at least worthy of being sequelised.
Part of its appeal alongside the sheer force of The Shape carving his way through Haddonfield once again, juxtaposed by the fragility and strength of Laurie Strode, magnificently portrayed by Jamie Lee Curtis, was how the film played to the damaging effects that trauma has on humanity, and how some condition themselves to the impact that this has had on their lives.
Where Halloween 2018 leaned into early stages of trauma through the eyes of the Strode family, who are in complete denial, numbed to the exposure that Laurie’s turmoil has taken, or through the taking on the pain and guilt of surviving such an ordeal, the latest outing needs to take this to the next level, Anger and Bargaining. The only problem with these emotions is that there isn’t a lot on the dial to play with. Each character that embodies these emotions invariably meet their grisly end as a result. Not that this completely squashes the narrative however, as the re-introduced character of Tommy Doyle (Anthony Michael Hall) who leads a vigilante group on a mission to end evil and kill Myers for good. It certainly shines a light on the consequences that a mob mentality can have when confronting trauma. Brute force against brute force will always lead to ruin where there are no winners.
It’s biggest strength is in its central antagonist, Michael, who never holds back, continuing the theme from the 2018 feature. As it should be. He is and will always be the draw card to the franchise, and I’m glad to say that he never disappoints, arguably his portrayal here is one of the finest in the franchise.
It’s other strength from 2018, is with Jamie Lee Curtis.. Every moment she is on screen, you are willing for her to bring the same exhaustive performance. However, she is subjected to a more minor role, still an important one, as between her and the wounded Deputy Frank Hawkins (Will Patton) provide hope through acceptance, through what will be the final step in moving through a traumatic event.
2. Pay homage and do not violate/ignore said ideas and themes and elements
Here, Green still pays homage to the franchise as a whole, using elements that have played key roles or images that have been instilled from previous films, such as Halloween III: Season of the Witch, with the skeleton, pumpkin, and the witch. The creative team have proven before that they are lovers of the franchise and here is no exception to that rule. So, for this, they continue to immerse the viewer and expand on that sense of nostalgia without causing damage at all.
3. Introduce new/expanded themes, ideas and elements that will NATURALLY ALIGN to your first ideas, themes & elements. As mentioned, the new elements introduced in this movie expand on the themes of trauma, most notably anger. This feels like a natural cause of action following the 2018 feature. The second part of this trajectory is through bargaining, a trait that is mostly seen through Karen (Judy Greer), in many ways the heart of the movie, pleading with her mother Laurie to listen to reason, desperately trying to save the life of the prison inmate, wrongly identified as Michael. This only makes her actions bittersweet in the face of the movie’s climax, a step that needed to be taken in order for the survivors, whoever they may be, to heal.
4. DO NOT rehash the first film and just give people “more of the same”.
This is where the movie starts to fall down a little. While it tries to push the story arc along, it fails to resonate a beat and quicken the pulse at all. It is happy to play with the same kind of energy, but in doing so falls flat and starts to feel like it is a filler movie between Halloween and what will ultimately be Halloween Ends.It struggles to shift outside of this and doesn’t deliver as a result.
5. DO NOT-NOT rehash the first film by giving more of the same…. BUT “BIGGER”.
It could be argued here too that they’ve tried to go bigger, and who could blame them, and in part Michael falls into this category. I would counter this though by saying in the very action of attempting to go bigger, they lose sight of the integral components, and the raw energy captured before. It feels a little flat in its execution and disconnects from the viewer.
6. Be a good enough stand-alone film by itself.
And for its final hurdle in our 6 rules for a great sequel, Halloween Kills stumbles. It fails to be viewed as a stand alone movie as it relies too greatly on its predecessors. It is these movies that allow the feature to stand tall, but take away these crutches, there isn’t a lot left on show.
The Diagnosis:
So, where does that leave things with Halloween Kills? Well, it manages to execute 3 out of 6 rules successfully, which falls in line with my gut reaction. I marked it as a little over average and falls short of the previous movie.
Yes, it’s a filler and it might feel more satisfying once Halloween Ends completes that cycle. Until then, we’re left with a vaguely entertaining movie that tries to satisfy the core fans, some of whom will be content, but others will note the lack of impact that came in 2018.
Director David Verbeek leans heavily into the latter part of the film’s title. Strewn with stunning images throughout the Rotterdam cityscape as its backdrop in most places, whilst tantalising with the ‘Dead’ component.
Five rich socialites have gravitated to one another out of their boredom and unfulfilment of life’s medicrity and strive to spice up the dull elements with a shared mixture of experiences that challenge their vices and pushing them to the edge in order to feel something and awaken their dormant souls.
One night out quintet of rich kids descend upon a group of people who practice an ancient ritual that centres on the dark arts and a sacrifice. The group black out and wake to find a corpse and each bear a set of fangs. Instantly they are subjected to the notion that they have been turned into creatures of the night, forced to carry out vampiric means to satiate the growing thirst for blood.
The film flicks and flutters through their stifled emotions as the group becomes restless and unable to comprehend or handle this new way of life. With no guide rope to aid them in these new experiences, they are left flailing into the wind, reaching out for anything that may ground them.
Verbeek successfully captures the strengths and weaknesses of the characters as they both fall into each other’s embrace or thrust them apart with their responses or actions, amplifying their paranoia or loss of control. All of which slowly builds to a conclusion that leaves you questioning the blurred lines of reality.
The Diagnosis:
Beautifully shot and complex characters intertwine through a deliberately slow narrative giving room to build up the central characters.
It’s a film that plays with manipulation and human conditioning at its core, where nothing is as it seems.
Like the key players, the audience is subjected to a fixed point of view that unravels and is picked apart to the point where you not only feel the trauma of the group, but just when you think you have it figured out, takes you in a completely different direction.
– Saul Muerte
Dead & Beautiful is streaming on Shudderfrom Thursday 4th November
I didn’t realise that Dark Night of the Scarecrow had been initially released as a straight for tv movie forty years in 1981. The film whenever I first watched it back in whatever time that I had initially stumbled across it, (possibly when perusing through the aisles of my local video store) had always seemed to be polarised by the image of Bubba Ritter (Larry Drake) decked out in full scarecrow disguise to hide from Charles Durning’s Otis and his hoodlums, only to be gunned down in cold blood.
Upon my most recent viewing, there was evidence to support this low-budget style approach to the production values, but this does not belie the quality and impact that the narrative has on its audience.
This in part is down to the combination of the screenplay by J.D. Feigelson who essentially invented the Killer Scarecrow subgenre, and the direction of Frank de Felitta, (a screenwriter himself behind Audrey Rose and The Entity) who was able to tap into the eerie tone of the film to present a dark look at small town America and the corruption that can occur deep within.
The whole film plays out as a power complex within the community and how Otis exerts his power to dominate the social scene. He also has a troublesome yearning for the young Marylee Williams; feelings he tries to keep buried but he is also harbouring some jealousy over her friendship with the mentally challenged Bubba. Bubba is actually a sweet and gentle giant, misunderstood by the locals who regard his friendship with Marylee as unsuitable. So when Marylee meets with a mishap from a savage dog, ‘naturally’ people suspect the worst. Cue the afore-mentioned ‘witch hunt’.
The rest of the film plays out as a revenge flick, when a curious scarecrow turns up to haunt and kill off Otis’ crew one at a time. But is this an apparition, or has Bubba come back from the dead?
The film is tightly knit together and weaves enough mystery and intrigue out of the confines of a small community that is ripe with foul play, festering at its core.
Surgeons of Horror 