Category Archives: movie of the week

Movie review: Honeymoon

13 Wednesday Dec 2017

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Back in 2014, Leigh Janiak delivered her directorial feature debut with Honeymoon, a film that centres on a newlywed couple who arrive at a remote cabin to celebrate their nuptials.

We are first introduced to the couple through their recorded confessions to camera as to how they met, which is actually beautifully acted.

The homestead for the honeymoon soon unleashes and otherworldly experience that shifts the film into a new territory which keeps the couple and us on their toes.

The film is currently available on Netflix and may have slipped by unnoticed by fans of sci-fi horror.

Riding on the crest of fame that came to the leads Rose Leslie (Game of Thrones) and Harry Treadaway (Penny Dreadful) Janiak crafts a strong narrative of young love.

The problem is that this film relies heavily on its leads to pull the story along, and in stronger hands they could have pulled it off with a blink of an eye, but it has to be said that the players weren’t quite up to the task.

There are moments where the tender moments feel forced and disingenuous and perhaps with more time and space with the actors this could have been reached and maintained to keep within the realms of believability.

It’s unfortunate as there are key moments later in the film when there idealistic notions of romance come unraveled which need the hard work at the front of the movie for it to be pulled off.
But let’s face it, it’s rare these days that actors have the luxury of time to build on their characters and deliver cutting edge results, so I don’t want to appear to harsh because the moments that they do connect, the performances are incredibly touching and vibrant.

Part of this I strongly believe is due to Janiak’s adaptability behind the camera. There is an organic approach to her style that feels polished and we are able to be transported as a viewer from scene to scene with a style that belies her experience at the time.

Since then, Janiak has helmed an episode of Outcast and 2 episodes of Scream: The TV Series, and if IMDB is to be believed, could very well be directing The Craft sequel.

The Diagnosis:

The setting and ambience is incredibly well directed and despite a few little niggles, I found myself strangely drawn into the narrative. I would definitely recommend watching this one.

 

  • Saul Muerte

Get Out: 6 hidden moments that lured us under its hypnotic spell

04 Thursday May 2017

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DESCRIBED AS A social thriller, Get Out is fast becoming the must-see horror film of the year.

Brought to the screens by the brilliant Jordan Peele, with his sharp observations on society and culture.

In particular, Get Out focuses on the racial divide in America.

Whilst there are some moments that are blatant statements of the issues faced in the US, there are some that are a little more subtle.

So many layers are placed in this movie that when watching, you almost feel like you’ve transcended into your very own ‘sunken place’, paralysed by in Peele’s world, searching for a way out of the madness that surrounds our central character, Chris.

Here are 7 Key moments that you may have missed on first viewing

  1.   “Run” 
    It’s a common theme within the movie – more prominent with the song Run, Rabbit Run, that’s played at the start of the movie, but emphasised even more so, with a Swahili song that also feature in the movie, which when translated, tells us to listen to your ancestors, and run.
  2. No trace of I.D.
    When Rose hits a deer with the car, did anyone notice her lack of empathy?
    Chris is drawn to see the deer as it instantly reminds him of his own mother, who was knocked down in a hit and run, but when the cops arrive,
    Rose is very quick to defend Chris and not let the Cop force home to give out his drivers licence.
    On face value, this might seem like an empowering moment as she stands up for her man, but in light of what transpires later in the movie, could be viewed as Rose covering her tracks.
    If there’s no record of her and Chris being together, she can hide all trace of his inevitable disappearance.
  3.   The Black Buck
    Briefly mentioned by Rose’s father with an off-hand comment, with his lack of love for bucks or deer is actually racist slur in post-reconstruction America.
    It was used by those in white authority on Black men who refuse to ‘tow the line’.
  4.   Silver spoon
    Speaking of bowing to authority, the method that Missy uses for her hypnosis treatment labours the point further around ‘White supremacy’ with the aid of a silver spoon.
    A symbol of how the elite can rule and control those in a ‘lesser’ position.
  5.   Cotton picker
    Slightly more obvious is Chris’ method of escape. When tied down, he literally has to pick the cotton embedded in the chair, in order to win his freedom.
    It’s a strong and profound moment in the movie.
  6.   Froot Loops and Milk divided.
    Believing that all is in order, Rose resorts to her basic behaviour and let’s her guard down in search for her next victim.
    Whilst she does this, Rose eats some Froot Loops on their own before consuming some milk.
    An odd behaviour in itself, but on closer scrutiny symbolises the separation of colour from the white that is deeply embedded in her psyche.

It feels as though I’ve only touched the tip of the iceberg with this one.

Get Out is so deeply layered that it warrants a repeat viewing or two to really appreciate Peele’s work.

And with the promise of several more social thriller instalments on the way, I can’t wait to see what Peele serves up next.

  • Paul Farrell

Mike Flanagan hits 3 horror home runs in 2016 – pt3: Before I Wake

01 Sunday Jan 2017

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IN MY HUMBLE OPINION, Before I Wake is by far the best of Mike Flanagan’s 2016 movies.

I could also venture that it’s his best movie so far.

It’s filled with the stuff of imagination that makes one glow after viewing it.

So much magic and heart combined with fear and tragedy that can only be born out of dreams and nightmares.

The credit falls upon Flanagan and co-writer Jeff Howard to bring this spectacle to the screen with such wonder and delight.

Following the story of a couple who look to adopt a child after their own heartbreak and ruin after tragically losing their own son some years prior.

So, as they carry this baggage with them and try to repair, both Jessie and Mark have to face their past when Cody comes under their roof.

But all is not as it seems with Cody. 

There is a mystical aura that surrounds him and when he sleeps, something both glorious and sinister occurs.

Again what struck me about Flanagan’s craft as a storyteller is that he is able to show the depth of character with his leads and in doing so, Kate Bosworth’s Jessie shows all her flaws and weaknesses that as a viewer you both empathise and scathed with the same sweeping judgement.

The Diagnosis:

Before I Wake is an emotional journey that reawakens the soul and enriches the senses.

Don’t be turned off by it’s lack of a cinema release as this was purely down to the collapse in finances from Relativity Media.

Before I Wake is now available on Netflix.

Watch it now and fall in love with a supernatural fantasy that continues to delight with every viewing.

More Mike Flanagan movie reviews:

Mike Flanagan hits 3 horror home runs in 2016 – pt2: Ouija: Origin of Evil

31 Saturday Dec 2016

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I’M GOING TO hold my hand up and say that this was the weakest of the 3 Flanagan movies of 2016, but that’s not to lessen its integrity by any stretch as it’s still a damn good movie

If anything it just strengthens Mike Flanagan’s pedigree as a modern horror auteur even further when you combine this with his other 2016 movie releases, Hush, and Before I Wake.

But I digress, back to Ouija: Origin of Evil and why it deserves a lot more recognition than it currently holds.

Firstly, the big elephant in the room which automatically serves as a hindrance in my book, is the bold choice to create a franchise out of what was essentially a flop in its predecessor, Ouija.

When I first heard that Flanagan was attempting to do this I was at first a little flummoxed by that decision, but as a few of my colleagues will testament, I’m a sucker for creativity born out of bold choices and for that measure I was willing to let Flanagan to take me along for the ride.

Secondly, was yet another interesting decision; to take Ouija back to its origins (as the title suggests) and act as a prequel and not a sequel.

In doing so, Flanagan is almost able to wipe the slate clean and throw in a few rules of his own, (some that the original was sadly lacking and give said original a bit more strength to its cause) and generate a new lease of life into what was a dormant vehicle.

A daunting challenge for most but Flanagan would rise to the occasion and allow the tension to be drawn out gradually.

The story itself would follow a family of seance scammers to unwittingly unleash evil, primarily on the youngest daughter and then struggle to fight against damnation in order to win back her soul.

What struck me in particular about this movie was Flanagan’s fascination with the human mind and how it can manipulate, be manipulated and misinterpret various scenarios for good or ill.

It’s an area he has focused on before in Oculus and this movie would allow him to divulge further into this subject as part of his playing field.

So, if like some people you were drawn away from watching this movie as you were let down by the original, I would ask you to reconsider.

This is a movie that highlights a director who is only just starting to pick up his stride and produce some wonderful moments in the horror genre.

And is the reason why he is my recommendation for Director of the Year.

Next up: Before I Wake

Mike Flanagan hits 3 horror home runs in 2016 – pt1: Hush

31 Saturday Dec 2016

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DIRECTOR MIKE FLANAGAN has been slowly making his mark as ‘THE’ director to watch in the horror genre.

Back in 2011, he made his name with Absentia and then followed this up with the underrated Oculus film in 2013.

But it would be in 2016 that he would really show his mettle, hitting the ground running with a home invasion movie, Hush.

Something of a theme in 2016 combined with the success of Don’t Breathe.

What made Hush an interesting vehicle is that it thrust a deaf character as its central protagonist. Not a new concept granted but Flanagan’s direction would steer Maddie in a remote setting removing herself from society, running away from her troubles and from the sound of things a troubled relationship.

By stranding our heroine into isolation, she must resort to her strength and wit in order to survive.

And we’re not talking about the whole scream queen scenario where she runs up the stairs instead of out the front door.

There’s a lot of ingenuity involved in her attempts to escape but ultimately finding herself back in the house with nowhere to run.

Its strength is also derived by its minimal cast, essentially leaving the protagonist and antagonist to share the bulk of screen time, with the exception of a couple of neighbours, it relies on the tension and drama to unfold with genuine realism.

A choice that is rewarding to see both sides struggle to swing the pendulum in their favour

And what’s more the pay off is worth the wait.

If you’ve not caught this movie yet, I highly recommend it.

Hats off to the first in a trio of great movies by what I’m dubbing the Director of the Year.

 

Next up: Ouija: Origin of Evil.

Movie review: Neon Demon (2016)

18 Tuesday Oct 2016

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LOOKING AT THIS decade alone, Nicolas Winding Refn is carving an interesting film career.

Making his name since The Pusher Trilogy, he has developed something of a love him / hate him approach to his movies.

From a personal perspective, Drive was one of the best films released that year, but Only God Forgives left me trying.

So I went into Neon Demon not knowing which side of the fence I’d fall.

As usual the cinematography was stunning, as you’re treated to a spectacular visual journey into the beautiful, yet vacant world of fashion.

This in part is what Winding Refn has been criticised for, both highly and poorly.

In this case it kind of works in his favour as it shines the light on the vacuous nature that the fashion industry can bring.

Elle Fanning plays the doe-eyed sixteen year old Jesse aspiring to break through as a model.

Innocence is something that Fanning has been typecast of late but it’s a note that she plays well and Neon Demon allows her to be seduced by a dark, intoxicating world.

Among the supporting roles are Jena Malone (an often cruelly overlooked actress) and she deserves due nod here as make up artist, Ruby.

As Jesse falls further into this world, entranced by its beauty. Like is the viewer we fall fowl to this facade, but the deeper you go, the darker and uglier the world around you becomes.

As a side note and a slight spoiler, the movie reminded me of Countess Dracula, a modern interpretation of the Hammer horror film that was released as a novel scribed by Guy Adams.

It’s probably loosely based on Countess Bathory, a notorious serial killer of historical infamy.

In conclusion, it may not be to everyone’s taste, but I found this movie intoxicating and enjoyable all the same, despite the fact that it didn’t necessarily anything new. The journey was a beautiful one and one that I think is worth a visit or two.

– Paul Farrell

Don’t Breathe (2016)

01 Thursday Sep 2016

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CATAPULTING ITS WAY to the top of 2016’s best horror list is this movie by director Fede Alvarez (Evil Dead) who appears to be making all the right moves in the genre.

But why are people raving about this film so much?

Well, it appears to be for good reason as Don’t Breathe not only enters the genre with a new twist to home invasion but in doing so breathes fresh new life into this world with a unique approach to horror.

Ask any of my fellow Surgeons about my thoughts on the trailer when it was released and they’ll tell you that I wasn’t exactly glowing with high expectations.

Well, I had egg well and truly on my face when I finally watched the movie, as it was gripping and tense with all the emotions to keep you hooked and on the edge of your seat as the drama unfolded.

Centred on the story of a trio of thieves who usually only take on a heist when they are 100% sure of victory. 

There are doubts but the thought of robbing a blind man of a vast fortune pulls them in with disastrous results.

Hats go off to the cast, with particular nods to Jane Levy as Rocky, the woman hoping that this robbery will be her ticket out of hell, as she goes into the bowels of hell to get that reward.

And also Stephen Lang as the blind man who is not as susceptible as he seems and makes one of the best villains seen in recent years.

All of the ingredients work so well and you can’t but look forward to whatever Alvarez serves up next, which from all accounts could well be this films sequel.

I for one will be waiting with baited breathe to see how and when it will transpire, especially if Alvarez keeps up the pace of his recent outings.

  • Paul Farrell

The Purge: Election Year (2016)

14 Thursday Jul 2016

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AND SO IT would come to pass that director James DeMonaco would delve into another Purge movie where the streets of America are filled with anarchy, marking this the third entry in the series and a fitting as US Presidential Election would also take place in 2016.

The result of which is potentially a lot more scary and hazardous than this film depicts.

For those not familiar with the Purge series, it essentially follows the ratification of the 28th Amendment to the U.S Constitution. 

This amendment establishes a 12-hour event known as “The Purge” which would take place on from 7:00 in the evening ofMarch 21 to 7:00 in the morning of March 22, wherein all crime including murder becomes legal. 

Election Year would pick up in the year 2040, following a lawyer turned senator, Charlie Roan, who is now running for President with the aim of stopping ‘The Purge’ once and for all.

This gets the New Founding Fathers in a knot, so they decide to change the rules and make a Government Official with a rating of 10 or above no longer immune to the game.

This in effect it to make Charlie a target and eliminate her from the running.

But Charlie is a survivor, as evidenced in the opening scene of the movie as she gets through an ordeal back in the original Purge, whilst a masked purger torments and tortures her family.

The movie then takes place as part survival movie and part action movie as Charlie teams up with a group of underground vigilantes and overthrow the corrupt government.

There’s plenty here to keep you salivated and by now DeMonaco has immersed himself so much into the Purge universe, he’s able to spread his wings a little and focus on the impact that these rules have placed on society that little bit more.

Elizabeth Mitchell cuts a fine display as Charlie Roan, a woman who is scared but still has a lot of heart and willing to see the compassion in humanity and restore faith once more.

Frank Grillo also effectively grimaces and grunts his way through the movie as he revisits his character, Sgt Leo Barnes.

Action movies are such a staple of Grillo’s work that this feels like yet another day in the office where he hits each sequence note for note.

Yes Election Year isn’t going to set worlds on fire, but it is a bit of fun whilst still flicking the bird to the people with the power and authority.

Heck it’s even great to see Kyle Secor back on screen hamming it up as Presidential candidate Minister Edwidge Owens.

The films have seen a combined income of over $318 million, so DeMonaco must be doing something right.

With that kind of result you’d be forgiven for thinking about yet another addition to the franchise, but SPOILERS…..

At the conclusion of Election Year, Roan has successfully turned over the amendment and put a stop to The Purge each year.

Combine that with Frank Grillo stating that he won’t be back for another outing, the likelihood that a continuation from the on-screen events is unlikely to occur.

But rumours are that a fourth film is in the works and likely to be a prequel looking at how the New Founding Fathers were formed.

Whatever the outcome it was a fun ride and if you’ve not seen any of the series yet, then perhaps you should get your hands on the trilogy and treat yourself to a Purge.

  • Paul Farrell

Lights Out (2016)

23 Thursday Jun 2016

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WHEN DAVID F. SANDBERG caught  the publics back in 2013 with his short film, Lights Out, it seemed inevitable that it would thrust him in the limelight.

Three years later he released a movie of the same name with the same concept, an entity that is manifested when the lights are out.

Where the filmmakers then take this and expand on the original is to have said entity born out of the mental illness and depression of Sophia.

It is only when her son Martin actually sees the manifestation that questions are raised, but suspicions fall upon his Mother’s ability to look after him.

In steps older sister, Rebecca and a slightly unwilling boyfriend, Bret to take Martin under their wing.

As the past comes to light so does the gruesome reality that was buried deep within the institution that Sophia spent some of her time.

Only by facing their past can the family truly get past their demons.

It feels a shame then that the filmmakers didn’t spend more time on character development.

They had the perfect opportunity to shed light on a topical and important subject in society with mental illness, instead it felt the chance with squandered to favour pushing out a film and still capitalising on the success of the short film.

If more time and dedication were placed on this and indeed the entity known as Diana, it would have proven to be a much more frightening movie grounded in the realism of a subject that is often left in the dark.

Such a let down and I felt that more attention was focused on the concept, and in doing so we’re left feeling hollow as a result.

I’m somewhat puzzled by the success that this film received at the box office and even more so that a sequel has been greenlit.

But hey, I’m willing to go against the grain and say that Lights Out was the worst high profile horror movie of 2016.

  • Paul Farrell

Movie of the week: The Forest (2016)

22 Wednesday Jun 2016

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THIS NATALIE DORMER (GOT) vehicle had a lot of potential going for it and when I read up about it, I was intrigued by the concept of a forest where people go to commit suicide.

I’m a firm believer in energy transmission and how a place can resonate or contain the feelings and emotions that a person may have had or experienced in their life.

I feel that in better hands this movie had the makings of being a modern day horror classic but it falls way short and instead delivers a confusing plot structure.

It doesn’t capitalise on what seemed to be perfect scare material.

The central theme was weak and predictable with its only saving grace coming from the strength of its lead.

That aside the viewer is left wanting and deflated over the outcome.

It pains me when a movie can build up so much expectation only to not deliver on its promise.

There is also a slight feeling of racial prejudice at play here with no measure of sensitivity at all.

That’s not to say that I expect films to play the safe card, you either have to go one way or another, but this movie doesn’t even do that,

Above all else, the forest or wooded area can be a pretty scary place when you are left alone to brace the elements.

It’s a place where your mind can play tricks on you.

And we all know that imagination can be the stuff of creativity.

Something this movie sadly lacked.

  • Paul Farrell