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Surgeons of Horror

~ Dissecting horror films

Surgeons of Horror

Category Archives: Movie review

Movie review: Broadcast Signal Intrusion (2021)

27 Sunday Mar 2022

Posted by surgeons of horror in Movie review

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harry shum jr., jacob gentry, lightbulb films

The My Super Psycho Sweet 16 TV movie trilogy aside, Director Jacob Gentry has been slowly carving out credible genre movies that have been entertaining the On Demand platform audiences. His latest outing, Broadcast Signal Intrusion has tapped into the mainstream with its eerie psychological elements that has been likened to the works of Cronenberg the elder, notably Videodrome as both movies deal with underground conspiracies and the infiltration of what is now an aged medium, the video tape. The similarities end there however, as all due respect to Gentry, he ain’t Cronenberg and lacks the in-depth intelligence that the directing auteur brings to his work and the study of the human mind and the physical degradation/rehabilitation of our species with that of another entity.

Gentry is able to play a little on the psyche though, with this slow burner investigation into these mysterious and sinister pirate broadcasts that have infiltrated transmission stations. The trouble I found though is that the eerie and strange was set far better in Channel Zero’s Candle Cove. The masked presence in the videos does shock but fails to go deeper with the scares and flatlines with every other appearance. The 90s setting also helps to set the mood and provide an ample backdrop to the narrative, which sees video archivist James (Harry Shum Jr. – Crazy Rich Asians) driven by obsession to unearth the mystery behind these dissemations. 

James himself, plagued by his past, seems set on this Sisyphus-like pursuit and is damned by the consequences. He is heeded numerous times by those he encounters along the way but is hellbent in ploughing ahead regardless.

There are some choice decisions that James makes along the way that does make the audience question why he is so insistent in finding the truth and some of the reason behind this is provided to a degree but like the plot, it’s thinly veiled and lacks substance. This is in essence, the movie’s achilles heel; not enough smoke to hide the plots and twists of intrigue. And thus it falls short and struggles to keep our attention.

The Prognosis:

There is promise here from Director Jacob Gentry, but the psychological horror is left wanting, content to skim across the surface without delving to the darkest depths.
There is enough to play with the senses only to be let down by a fairly straight forward conclusion followed by an odd twist component.

  • Saul Muerte

Broadcast Signal Intrusion is available to own or rent from AppleTV, Microsoft Store and Google Play in Australia & NZ from March 30.

Movie review: The Bunker Game (2022)

25 Friday Mar 2022

Posted by surgeons of horror in Movie review

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shudder australia

Some games are not for everyone.

While I may not have been the most athletic kid growing up, I did enjoy taking part in games. Be it in physical sports or the tabletop board games.

For their latest Exclusive and Original features, Shudder have launched Italian director Roberto Zazzara’s film The Bunker Game onto their platform.

The premise is that a Live Action Role Playing Game set around the rise of the Third Reich buried underground and living the life of the Nazi’s regime. When the games’ creator disappears, the line between game and reality blends and the players are forced into a battle for survival.

The idea of a live action role-playing game seems ripe for a bloody scene. By playing with the idea of realism the game and the horror element is heightened but the problem comes from no clear understanding of what the rules of this game may be. Is it set in the now, or a warped future where the Reich have sneaked underground with the means of a new uprising? Or is this world merely the stuff of some rich man’s playground?
By throwing into the mix, a paranormal element that could be behind everything, then we start to get into really murky and convoluted territory.

This isn’t the only real issue however, as both characters and the performances therein are borderline dry. There’s two-dimensions and then there’s flatline. The writers couldn’t do much more in order to shirk their audience away from the content. The narrative is like wading through treacle, but unfortunately nothing sticks so that by the films conclusion we’re beyond caring about whatever they may have concocted to draw the movie to a close.

The Prognosis:

Unfortunately, March hasn’t been too kind for horror streaming platform Shudder. So far the exclusive and original content has been underwhelming.
In the case of The Bunker Game, it simply struggles to hold your interest and falls on so many crucial elements along the way.

  • Saul Muerte

Movie review: X (2022)

22 Tuesday Mar 2022

Posted by surgeons of horror in Movie review

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brittany snow, horror, horror films, Horror movies, jenny ortega, kid cudi, martin henderson, mia goth, mumblegore, slasher films, slasher horror, ti west

Last week I joined up with fellow Surgeon Myles Davies to watch Ti West’s latest turn behind the camera with his seventies inspired horror slasher flick, X.

A couple of days later, my colleague fired up the following tweet to cast his judgement before the world.

I went to a screening of this awesome new slasher last night and holy moly if this is not the best horror of 2022 then it’ll probably be it’s sequel – due out later in the year… fans of horror, this is a must-see!! https://t.co/Lg2tkRvyZD

— Myles Davies (@mylesdavies) March 18, 2022

But what prompted this response from our slasher surgeon guru?

What compelled him to go Cujo frothing crazy?

Was he merely spouting foreign tongue, possessed by Satan’s work?

Or was there a method to the madness and perhaps people should sit up and take note of his prophecy?

Well, let’s throw the beast onto the mortician’s slab and dissect the film to get to the heart of it.

It’s been about six years since West sat in the directors chair for a feature length movie, and his subject of choice is a love song to the late sixties and early seventies with the infusion of sex and slasher horror.

There are obvious nods to the porno scene that had infiltrated the movie Plex with films such as Debbie Does Dallas, opening to dorr for adventurous and risky filmmakers to make their mark with cheap, low budget, guerrilla style approach to the medium.

Similarly the slasher scene was starting to raise its head, notably through The Texas Chain Saw Massacre, directed by Tobe Hooper and from which West draws the bulk of his inspiration from.

West is clearly a man who knows his field though with suitable nods to Hitchcock’s Psycho, Kubrick’s The Shining, and even early 80s horror flick Alligator. 

X follows a group of young filmmakers intent on making an adult movie that could launch them to stardom; whether it was through escapism, to be famous, or for the money. Leading the stakes with that certain X factor is Maxine Minx (Mia Goth), a stripper and pornographic film actress. Joining her on their filming expedition is her boyfriend and producer Wayne (Martin Henderson), fellow actors Bobby Lynne (Brittany Snow), and Jackson Hole (Kid Cudi), Director RJ (Owen Capbell), and his girlfriend Lorraine (Jenny Ortega). 

Their choice of location happens to be a farmhouse in Texas (of course) and much like its inspiration, there’s more than meets the eye from its occupants, but not necessarily how you would expect… an elderly couple. Pearl (also Goth) is unwilling to let go of her sexuality just because of her age; and Howard (Stephen Ure) who will stop at nothing to satisfy her needs, but time may not be on his side. 

There is a fine line between pleasure and pain, and all it takes is one simple flip to turn our intrepid pioneers in filmmaking to be pushed into a world where they may not return from. Once the characters and setting take hold, West then lets loose with a slasher frenzy of delight, painting his celluloid brush with the artistic style and grace that the genre lends its name from, dabbing from a palette of iconic horror visuals to stimulate the audience with.

X is more than a homage to films of yester-year though as West immediately lures us in with the style from the era, both visually and auditorily, scintillating the senses. As he subjects us to the charm of the movie, West then pulls us in further with rich characterisation, who on face value appear to be stereotypes of the decade, but beneath the surface are more than their appearance depicts.
In fact, West’s masterstroke is in forcing the viewer to look beneath the surface of these characters, delving deep into their personalities and forcing their true selves to the fore.
The biggest component that Wast dapples with is the social stigma that age has on society, and how sex can diminish when time plays its part on us all. Does age damage the psyche? When we are left with our souls, and our body begins to fail us, what makes us worthy then when we aren’t able to let go of our sensuality?

The Prognosis:

So what is the conclusion?
Is this as Myles states, a potential contender for horror film of the year?

Ti West serves up a beautifully shot movie that sparks nostalgia and awakening to the slasher genre. The performances, especially from Mia Goth in her dual role are an absolute delight.
And the slow burn tension that flicks with humour and horror is perfectly balanced throughout the film. Plus the use of age and fear of ageism in the wake of losing one’s sexuality as the central theme is a bold but rewarding one.

West has always proved to be a quiet achiever from the mumblegore movement, but deserves more praise for his efforts.

X has just elevated his profile further and with the promise of turning the movie into a trilogy and a prequel called Pearl due later in the year, West could very well have made the best horror film of the year. Stay tuned 2022.

  • Saul Muerte

Movie review: The Seed (2021)

19 Saturday Mar 2022

Posted by surgeons of horror in Movie review

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chelsea edge, lucy martin, sam walker, shudder australia, sophie vavaseur

A few weeks ago the horror streaming platform Shudder released The Seed as part of their Exclusive and Original content.

The film sees Sam Walker in the director’s chair for the first time overseeing a feature length movie, and is centred in the Mojave desert where 3 girls are settling in for a weekend retreat. Their plans however, would  be disrupted due to a bizarre alien invasion.

The choice of location may seem a strange choice but is packed with promise for it’s remoteness and ripe with tapping into dealing with a crisis when isolated from society.

What surprised me though is that The Seed gets swamped in vacuousness, both in narrative and character depth. There is simply nothing here for the audience to grab hold of.

The girls in question are some of the most frustrating characters I’ve seen on screen in some time with no redeeming features whatsoever, particularly from Deidrie (Lucy Martin) and Heather (Sophie Vavaseur).

These so called friends are so self-consumed (which I get is the point) that any grace we would have for their predicament dies along with their performances. Any vein attempt to dilute their negative energy with our lead protagonist Charlotte (Chelsea Edge) who at least has some sense and is in touch with reality, is lost in the mirth of pained scripting choices.

What is does boast is some creditability in the effects department, creating some suitably gross visual creature effects in the alien life forms design. If this is anything to go by there is still potential from Sam Walker to produce something worthy, but we’re too bogged down by it’s obvious weaknesses for this area alone to warrant any high praise.

The Prognosis:

Quite simply, this movie is dull and lifeless

The characters propel you from the narrative and there is little care to hold your attention beyond some fairly decent visuals.

Movie review: Fresh (2022)

12 Saturday Mar 2022

Posted by surgeons of horror in Movie review

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daisy edgar-jones, dark comedy, disney plus, hulu, jonica t. gibbs, lauryn kahn, mimi cave, sebastian stan

When looking ahead at the horror movies set to be released throughout 2022, I didn’t predict that a film released through Hulu would set the benchmark in a cannibalistic, black comedy sub-genre with its Disney umbrella hat on.

Adam McKay, known for his time as head writer for Saturday NIght Live produced this film for Mimi Cave’s directorial debut. With Lauryn Kahn on screenwriting duties, we’re provided with a creative team that are able to tap into a vibrant, and at times brutally shocking script.

As the movie begins, we follow Noa (Daisy Edgar Jones) as she struggles to meet the right guy though online dating sites. When Noa has a chance encounter at a grocery store with Steve (Sebastian Stan), and a little flirting, there is the illusion that she has found Mr. Right after all. 

It takes the first half an hour of playing in a rom-com domain before Cave takes a drastic turn in proceedings when Steve suggests a trip away with just the two of them.
What could easily slip into the usual kidnapping, hostage scenario with a leaning into Stockholm syndrome is delivered on a much harder palette to swallow when it is revealed that Steve has a penchant for human flesh.
This rather sadistic twist proves to be a strong benefit to the film’s narrative, forcing the viewer to grimace at the premise with morbid fascination and the lengths that Noa must endure to win her potential freedom. Despite her ordeal, Kahn slices up some delightful passages of dark humour that are handled and performed with delicacy, and at times during surprisingly warm scenes that conflict with the drama of the moment.

There is hope and despair, implemented with a friend everyone wishes they had looking out for them in Mollie (Jonica T. Gibbs), who also discovers that Steve harbours another life with his wife, Ann (Charlotte Le Bon), but how much does his wife really know? And what dangers lie beyond if Mollie dares to proceed with her pursuit in finding Noa?

The Prognosis:

Fresh is so much more than your average psychological, survival thriller. It is delivered with heart, soul, and a dash of dark humour that pushes the notion of survival to the extreme.
It leaves you questioning just how much you would go to in order to outwit your assailant when your ass is literally on the line and on the dinner table.

Highly impressive outing from Mimi Cave who proves that she can offer a film that has edge, thrills and lighted-hearted moments in the darkest of scenarios.

  • Saul Muerte 

Fresh is currently streaming on Disney Plus.

Movie Review: No Exit (2022)

06 Sunday Mar 2022

Posted by surgeons of horror in Movie review

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dale dickey, damien power, danny ramirez, david rhysdahl, dennis haysbert, disney plus, havana rose liu

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

Movie review: The Scary of the Sixty First (2021)

05 Saturday Mar 2022

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betsey brown, dasha nekrasova, madeline quinn, shudder 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. 

A bold attempt.

  • Saul Muerte

Movie review: Black Friday (2021)

02 Wednesday Mar 2022

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bruce campbell, defiant screen entertainment, devon sawa, ivana baquero, miichael jay white, ryan lee

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.

  • Saul Muerte

Movie Review: Hellbender (2022)

26 Saturday Feb 2022

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hellbender, john adams, shudder australia, toby poser, witchcraft, zelda adams

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.

  • Saul Muerte

Movie review: Studio 666

26 Saturday Feb 2022

Posted by surgeons of horror in Movie review

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chris shiflett, dave grohl, foo fighters, jenny ortega, John Carpenter, nate mendel, pat smear, rami jaffee, sony pictures, taylor hawkins, will forte

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. 

  • Saul Muerte
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