Category Archives: A Night of Horror Film Festival

Movie review: Beaten to Death (2022)

12 Saturday Nov 2022

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Beaten to Death is the epitome of being put through the wringer. From the get-go, Sam Curtain’s third feature from the director’s chair (which premiered recently at Australia’s A Night of Horror International Film Festival) is relentless in carrying out its mantra in promising to beat a man to death. Our opening shots are of a guy literally being pummelled by a brute of a man; the reasons why yet to be disclosed.

Set in Tasmania, where Curtain, who also takes on writing and cinematography duties, takes full advantage of the beautiful-yet-brutal landscape; a metaphor for the narrative as it unfolds. Both Man and Nature are at its most harshest to put our everyman to his final test. 

Jack (Thomas Roach) is the man to be subjected to all forms of torture. He along with his partner Rachel (Nicole Tudor) have rolled the dice on a gamble that could help them through their struggles, but the path they choose and fate have a different tale to tell.

The Prognosis

Beaten to Death is one of those rare movies that does exactly what it says on the tin. It is not for the faint of heart, take note of the title. It’s spelt out for you.

What Curtain does offer is anything but predictable, carving up the narrative to draw out the ebbs and flows of Jack’s suffering. He allows the audience to breathe but just enough to catch our breath and throw us into the grinder again. There is heart too as we slowly learn of Jack’s initial plight and ultimate descent. Hats off to a solid performance by Roach too to lure the audience in with his solid portrayal.

Curtain keeps dangling the hope of survival throughout, and thus the tension hits you squarely in the face… repeatedly until the end. Brace yourself.

  • Saul Muerte

Beaten to Death will be screening as part of the New York City Horror Film Festival in December.

Movie review: Your Love is Mine (2022)

22 Saturday Oct 2022

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Some people are born into this world and they don’t fit.

Your Love is Mine is a delightfully macabre and haunting tale of loss, abandonment, and mental health. Society will constantly enforce positivity into the world and forsake the importance that the negative emotions have in order to find equilibrium. If we continue to bury these darker emotions and impel them, we essentially provide no outlet, suppressing it to the point that something or someone will crack.

The idea that love can be possessive and that one can claim ownership or believe that to be in love will answer or solve or life’s problems is challenged here. This is highlighted further when Sam (Lester Ellis) declares his love to Violet (Senie Priti), he struggles to specify what it is he loves about her when questioned beyond exterior qualities.

The story opens with Sam and Violet in this happy place in their relationship; a place of comfort between them but as the narrative unfolds so does the exposure around Violet’s wellbeing; and perhaps is looking for a way out of the dead end town to break the psychological cycle, but will that be enough. The trappings of their environment is a reflection of Violet’s state of mind. One that despite Sam’s efforts, he will not be able to rectify. So when tragedy strikes, the essence of love is pushed to the test. Will it prevail above all? Or is there a line that can never be crossed?

The Prognosis:

The writing/directing partnership of Luke J.S. and Luke Wijayasinha-Gray have crafted an eerie portrayal of instability of the human mind. When confined to the trappings of a dead-end town, how can fragility be set free?

A complex subject is given the means to be explored through beautiful cinematography and solid performances.

The hauntingly emotional journey of the leads are supported by these visuals and is viscerally captured through a soundtrack provided by Keepondancins.

All of the elements elevate these two creatives as names to watch out for.

  • Saul Muerte

Your Love is Mine will be screening at A Night of Horror Film Festival on Sunday Oct 23 at 5pm including a Q&A with writer/directors Luke Wijayasinha-Gray & Luke J.S.

Movie review: After She Died (2022)

21 Friday Oct 2022

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It’s no mean feat to transition from short films to feature length stories, but Sydney-based writer, director, producer, Jack Dignan has taken the bull by the horns with his first foray, After She Died. Billed as part of A Night of Horror International Film Festival’s line up, Dignan has the opportunity to showcase his talents before a genre-loving audience.

The tale he has chosen to tell is one of grief, loss and heartache. Jen (Liliana Ritchie) has always had a strong bond with her mother Isabel (Vanessa Madrid), so she is thrown into a world of misery when her mother dies. What Jen doesn’t fully comprehend though is that things are going to get steadily worse. 

Jen is already estranged from her father, John (Paul Talbot) whom she believes was an abusive husband, but through their grief they will share an intense pain. One that is solidified through a curious, paranormal event; namely the arrival of John’s new girlfriend, the spitting image of Jen’s mother. Is there more to this uncanny likeness than meets the eye? And has Jen’s father dabbled with the dark arts to keep his suffering at bay? Whatever the answers, there is a festering wound that will only amount to a sickening torment, simmering to the surface where it can no longer be contained.

The Prognosis:

This may be Dignan’s debut feature length movie as a director, but he manages to carve a well-structured, pot-boiler of a movie, slowly wrenching up the tension along the way. 

The performances from his two leads, Ritchie and Madrid are solid, drawing out the angst felt by both parties. A mother, daughter relationship, ripped apart and trying to heal in the most unusual of circumstances. Above all else though, Dignan casts a light on grief and how it can tear up the soul, damaging any essence of light right to the core of hope. It’s a subject well-trodden but ventured into a terrain that allows the topic to resonate and leave questions about the roles we play in accepting one of humanity’s most natural-yet harrowing experiences. It’s not about the healing process, it’s about how we heal and what remains of us at the end of the experience.

  • Saul Muerte

After She Died will have its Australian premiere at A Night of Horror International Film Festival on Saturday, October 22, 7pm.

Movie review: Our Evil

24 Wednesday Jan 2018

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There are slow burners and then there’s Our Evil, which trucks along at the pace of a clapped out milk float.
And yes, I’m fully aware of how old that statement makes me but it’s the only analogy I could come up with that gets anywhere close to describing just how slow the pace of the movie is.

There are average cinema-goers who may cringe at the lack of speed, and it is in fairness, both its weakness and its strength.
The longbow that is being pulled is well worth the payoff in my opinion, and could very well be the reason that the film was recognised for its strength in direction at last years A Night of Horror film festival.

Brazilian filmmaker Samuel Galli would take home the “Best Director” award vision, and would the film would also capture the “Best Male Performance” award to Ademir Esteves for his role of Arthur, a man who oozes coolness from the exterior, but deep down holds a secret, that pains him to the core.

Arthur is a man of spiritual nature, who is warned by his mentor that his daughter will become possessed by a demon hellbent on destroying her soul. What would you do when faced with such a proclamation? Why hire a serial killer to protect her of course.

The beauty of this movie is that it somehow manages to ebb and flow through various styles and story-telling techniques that range from the beauty to the most violent and gruesome scenes set to screen.

The fact that it manages to do this with such ease and simplicity without jarring the audience is a testament to Galli’s ability to guide you through each scene that grips you and keeps you intrigued to know what direction he is taking you in.

Added to this is Galli’s decision to use theatre-trained actors and ask them to pair back the performance to the point that it pulls you in further into the dark world that the film is set in. Once hooked, we’re ensnared and taken on a ride that delivers a hefty punch come the conclusion.

 

The Diagnosis:

Galli’s vision is what steers this unique tale that utilises subtle performances to intensify the emotions and anguish on display.

There’s a fine line between, good and evil, life and death, and Our Evil manages to walk that line with perfect balance of both these extremes.

 

– Saul Muerte

 

Movie review: Replace (2017)

22 Friday Dec 2017

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Taking out the A Night of Horror’s “Best Film” award from this years festival, Replace doesn’t match this accolade at face value, at least for the first few minutes, but as the layers are slowly pulled back, an intelligent and beautiful movie emerges within.

The reason for this initial reaction, is through the level of confusion that the viewer is faced with and the style that director Norbert Keil has chosen seems off kilter. The acting seems to be similarly stifled too, but all this is a deliberate device to echo the feeling of despair that our lead character, Kira is confronted with.

As she unravels her situation, Kira has to face up to her situation, revealing some unwelcome truths along the way.

The topic of the movie, deals with an age-old dilemma, that seems to be more concentrated over the recent years with women in particular. Especially with the developments in social media and this continuous fascination with beauty and youth that faces our society.

Imagine then the gravity of the situation when you discover that your skin ages rapidly and begins to wither away. The impact that this has is immense and one that Kira lands head on, but when she further discovers that she can replace her skin with another’s with immediate effect, her journey then transcends into a murderous rampage, fuelled by the need to stay youthful.

If this isn’t a measure of our times, I’m not sure what is.

The cinematography on display is both stylised and stunning and Tim Kuhn deserves some of the accolades thrown his way for luring the viewer in through a hypnotic gaze in places.

The score is equally as mesmerising with its rhythmic pulse driving through the films narration.

Further praise should also be bestowed upon Rebecca Forsythe who manages to display Kira’s vulnerability, innocence, rage, and desperation, with delicate transition and believability that belies her age.

The Diagnosis:
This latest entry into the body horror genre is filled with intelligence and beauty. A lethal combination that hits the mark through Norbert Keil’s stunning vision.

 

  • Saul Muerte

Movie review: Bloodlands

10 Sunday Dec 2017

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Steven Kastrissios takes us deep into modern Albania for his sophomore outing in the director’s chair.

Paving his way into the horror scene, Kastrissios turned heads with his debut feature, The Horseman, partly for hits ‘extreme violence’ but also for his ability to not shy away from the harsh society that is infused throughout the films narrative.

With Bloodlands, the subject of vengeance is once again at the forefront of Kastrissios storytelling, a subject that seems close to his heart.

In this instance, we are faced with a family struggling to make ends meet and with conflicting interests pulling at their innermost desires. It is only when confronted with a blood feud set by a witch and her mysterious clan that the family must unite and stand together against a common enemy in a brutal fight for survival.

Recently Bloodlands took out 3 awards at A Night of Horror Film Festival for Best Foreign Language Film; Best Australian Film; and Best Australian Director, and one can see why as it this tale of mythology and highly tense drama is a refreshing sight against the anarchy and gore that has been presented of late on our screens.

Cinematographer, Leander Ljarja beautifully captures the Albanian landscape, and Kastrissios slow burn direction allows the tension to build steadily to keep the viewer gripped to its gritty conclusion.

It just feels a shame that the characters feel so two-dimensional in places and this makes the strong concept and themes lost in what would have been thoroughly engaging piece had more care and attention centred on this area.

As such, there are no real shock moments, and the path becomes a predictable one as a result.

The Diagnosis:

A slow-burn horror that is reminiscent of The Hills Have Eyes in tone, but is embedded with Albanian culture, which adds a new flavour to the horror scene. A rewarding watch despite some character flaws.

– Saul Muerte

2017 Winners of A Night of Horror and Fantastic Planet Film Festivals

08 Friday Dec 2017

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Sydney, Australia, December 6, 2017 – The winners of the 2017 A Night of Horror Film Festival and Fantastic Planet Film Festival are announced.

Presented by Deadhouse Films, the 11th annual A Night of Horror International Film Festival and Fantastic Planet, Sydney Sci-Fi and Fantasy Film Festival showcased a stunning array of the latest and greatest horror, sci-fi, thriller and fantasy films from around the globe. Here are the winning films from the 2017 event:

Norbet Keil’s gorgeously gruesome body horror REPLACE took A Night of Horror’s “Best Film” award.
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While Brazilian filmmaker Samuel Galli captured “Best Director” for his confronting serial killer / supernatural chiller OUR EVIL.
That film’s mesmerising lead actor, Ademir Esteves, won the award for “Best Male Performance”.
Our Evil.jpg
And the “Best Female Performance” award was given to Dafna Kronental for her stunning performance in the beautifully lensed and terrifying Australian outback nightmare THE MARSHES.
Listen to our podcast with director Roger Scott here.
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A Night of Horror’s “Independent Spirit Award” for a feature film was captured by the riotous Ozploitation flick MUSCLECAR.
Listen to our podcast with director Dwayne Labbe and producer Aaran Creece here.
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But the biggest winner of the festival was the mesmerising Australian/Albanian co-production BLOODLANDS. The haunting film focuses upon a traditional Albanian family, coming to terms with modernity. But their domestic problems seem insignificant when the family find themselves drawn into a horrific blood feud with a witch and her kin. BLOODLANDS took out three of the fest’s major awards: “Best Foreign Language Film”, “Best Australian Film”, and “Best Australian Director” for Steven Kastrissios.
Bloodlands.jpg

Fantastic Planet Film Festival’s top honour, “Best Film”, was won by the terrifying yet deeply moving post-apocalyptic thriller HOSTILE. The film’s French director, Mathieu Turi also won the award for “Best Director”, which, in a split jury decision, was shared with Uganda’s Nabwana I.G.G., director of the hilarious action adventure, and international festival hit BAD BLACK. While the fest’s “Independent Spirit Award” was captured by the high-octane thrill-ride SIXTY MINUTES TO MIDNIGHT. Robert Nolan, the film’s lead, and one of the brightest lights in Canada’s vibrant acting scene, took the “Best Male Performance” award in a unanimous jury decision.

A Night of Horror’s “Best Short Film” was awarded to the pulse-charging survival horror LEVEL. The festival’s “Best Animated Short Film” award was won by the brutal French anime FIERCE. While atmospheric and masterful SOUND FROM THE DEEP from Finland won “Best Lovecraft Short Film”. The audience choice award for “Best Australian Short Film” went to the chill-inducing I’M SORRY MUMMY. And “Best Music Video” was awarded to the twisted MUUY BIIEN – MORAL COMPASS from director Benjamin Roberds. The festival’s inaugural “Best Web or TV Content” was taken by the nightmarish US short STEREOSCOPE. And the fest’s “Independent Spirit Award” for a short film went to the shocking and bloody Canadian short STUDDED NIGHTMARE.

Fantastic Planet’s “Best Short Film” was taken by the Spanish techno-terror thriller iMEDIUM. While “Best Animated Short Film” was won by the enchanting CORKY from the USA. Audience choice award for “Best Australian Short Film” went to the hilarious social satire DIRT TIN. The winner of “Best Music Video” was director Kim Pommel’s visually captivating A LOVE LIKE PI – JACK AND THE GIANT. The Finnish time-spanning sci-fi web series END UNSUNG won “Best Web or TV Content”. And Fantastic Planet’s “Independent Spirit Award” for a short film was awarded to the twisting sci-fi thriller REM from New Zealand’s April Phillips.

Both festivals also host screenplay competitions. The winner of A Night of Horror’s feature screenplay competition was FRIDAY NIGHT FRENZY by Richard Stringham. The competition’s 1st runner-up was Neil Chase’s DEAD STRAYS. The 2nd runner-up was CLARITY by Ariana Kenny. A Night of Horror’s short screenplay winner was LOST MAN by Guy Harvey. That competition’s 1st runner-up was Noah Pfister’s ROADKILL. And the second runner-up was CANNIBAL MOTHER by Jacob Schefer.

The winner of Fantastic Planet’s feature screenplay competition was TRANSCARLET by James Ross. The 1st runner-up was STORMCATCHERS by Mike Donald. Ana Ziegle Loes’ F7/F2 captured the 2nd-runner up spot. Fantastic Planet’s short screenplay competition was won by Daniel Earney and Dio Traverso’s JACK RABBIT. While AN IRON SHELL OF RITUAL by Jeff Racho took the competitions 1st runner-up spot. And the competition’s 2nd runner-up was THE INFINITE AND THE DIVINE by Krystyna Łoboda and Derek Weissbein.

And congratulations to Dee Wallace for winning “Best Female Performance” at Fantastic Planet Film Festival for her role in AYLA.

For more information visit: www.anightofhorror.com

Movie review – Borley Rectory

29 Wednesday Nov 2017

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Declared as ‘The most haunted house in England’, by Harry Price, who happened to be one of the earlier pioneers in paranormal research and along with that statement, The Borley Rectory has been embedded in the psyche of anyone with an interest in things that go bump in the night.

Question marks have been raised about the authenticity of Mr Price proclamation and certain suggestions have been raised about his character with some even suggesting that he was a charlatan, out for profit. Especially when he penned a series of books on the subject.

Questions aside, the history of The Borley Rectory is certainly a strange one and one can only study its background and discover that it’s an odd place where curious and unexplainable things have occurred.

So it’s little wonder that no one has really documented the history before.

Well thankfully director Ashley Thorpe had that curiosity and passion to explore the stories that have decorated The Borley Rectory over the years and transformed it into what can only be described as a masterpiece of filmmaking.

Thorpe is able to transform the mystery and suspense and present the viewer with a unique style of documentary using his own blend of animation.

The style and manner of the film not only flows with ease but could also craft a new and exciting way to present historical documentaries for the digital generation.

Guiding us along the way is the delicate tones of Julian Sands who narrates the tales and characters journeys throughout the film.

The ensemble cast too are simply amazing and deftly underplay their roles to perfection.
Nods especially go out to Jonathan Rigby as Harry Price, Reece Shearsmith (The League of Gentlemen) as V.C. Wall, and Nicholas Vince (Hellraiser) ad Rev. Smith.

The Diagnosis:
With Borley Rectory, Thorpe captures the eeriness whilst also staying informative and engaging. At times the screen feels like it is breathing with a life of its own and lifts the viewer from scene with a sense of unease.

– Paul Farrell

Catch the screening of Borley Rectory at the A Night of Horror Film Festival.

Screening times and tickets available below:

SUNDAY 3rd DECEMBER – 3PM
Buy Ticket from Dendy Newtown Cinemas here.

 

Ashley Thorpe interview

https://player.whooshkaa.com/player/episode/id/157913?visual=true&sharing=true

Movie review – Musclecar

22 Wednesday Nov 2017

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Musclecar is a rampage of mayhem that shifts through the gears to a new level of cult Ozploitation.
It’s an Aussie oddball film and one not to be missed if you like a bit of a laugh.

Alrighty, let me paint the picture for you. B grade film maker Bambi (Jacinta Stapleton, Neighbours) spends her last 10k on her dream car before finding out the grant for her new film has been cancelled… dun DUN DUNN.

She’s left with a shiny new big red car and no money to run it. With the help of an admirer, Randy, Bambi resorts to murdering drunken men before using their blood to run her car… an obvious alternative to picking up a few extra shifts at Coles and hitting up her local SHELL.

The film has you on edge from the get go. Perhaps it’s the inherent objectaphillia, or Bambi’s revved up ringtone, or maybe even the way she hooks up a human heart to the engine of the car… hmm.

Nevertheless, Dwayne Labbé has creepy down pat. The insanity builds throughout the 75- minute saga enough to wrap up the film with a satisfying bang.
Murderers who just kill their victims and don’t do anything weird with them is sooo last Wednesday.

Musclecar’s main fuel is the animated comic-book style panels that are used to separate or punctuate scenes. It makes me think that it could have been as effective, if not more so, if the entire film were animated.
The art really accentuates the genre and really sells its comedic layer. The absurd plot could not have survived if it didn’t stand by its funnies.

The Diagnosis:
Musclecar won’t intrinsically change you, or make you wish that your car came to life, but it makes for an entertaining hour and a bit…
The perfect fuel for a night in to drain your mind and feed your soul.

– Breana Garratt

Catch the screening of Musclecar at the A Night of Horror Film Festival.

Screening times and tickets available below:

SATURDAY 2nd DECEMBER – 9PM
Buy Ticket from Dendy Newtown Cinemas here.

 

Dwayne Labbe & Aaran Creece interview

https://player.whooshkaa.com/player/episode/id/156681?visual=true&sharing=true

Series review: The Mist Season 1 (2017)

22 Wednesday Nov 2017

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Alternate Title: I Watched This So You Don’t Have To

Amazing performances from a diverse and talented cast.

A thrilling storyline.

Terrifying creatures, made all the scarier by almost never fully seeing them.

I refer of course to the 2007 film adaptation of Stephen King’s classic horror tale about a large group of terrified townspeople trapped in a grocery store by a strange, otherworldly mist. (I never tire of watching this film and in fact watched it a few times to rid myself of the bitter taste of mediocrity that was left in my mouth after watching the series.)

The 2017 television series was one of the worst things that these orbs in my face have been forced to look upon.

Lacklustre performances from an unmemorable and largely average cast (with the notable exception of Frances Conroy (the matriarch from Six Feet Under) who is tremendous despite her character being fairly annoying
Confusing and meandering plotlines, most of which go nowhere and serve no real purpose.

A mixed bag of monsters, most of which aim for Hannibal-esque special effects (I refer of course to the television series with Mads Mikkelsen and not the film), but lack their elegance, grotesque beauty and creativity.

To sum up the plot (if it can even be called much of one), the story centres around a family whose teenage daughter has been the victim of a heinous crime.

While dealing with the aftermath, they are separated from each other when an eerie mist suddenly descends upon their small Maine town.

They must deal with some not so fantastic neighbours (and the deadly mist of course which is the most likeable character in the series.)

Unlike the film which showed the good and the bad that come out in people while facing a crisis, the show only portrays seriously unlikeable characters who repeatedly do horrible, horrible things to one another.

Which brings me to the subject of the series finale (because this series was blessedly cancelled after the first season!)

I never watched Lost but I remember hearing people complaining that they had been loyal viewers for years and then were massively let down by the ending.

This was less of a letdown for me because I didn’t care about any of the characters but I still wanted some kind of payoff in terms of answers.

We dedicated ten hours of our lives to the show so the ending – abrupt and nonsensical – left me with my mouth fully agape for ten minutes. I could not believe that they chose to end the series – let alone a season – so poorly. I have never felt so cheated by a finale. I can’t say that I have fully recovered from it.

The Diagnosis:
Get you a man or woman who will endure 10 hours of terrible television to keep you company (and without complaint!) My gentleman companion earned himself so many gold stars for sitting with me to watch this series in its entirety that he gets a kidney from me if he ever needs one.
This TV series was that bad.

– Vanessa Cervantes