Category Archives: Movie review

Movie review: The Furies

15 Tuesday Oct 2019

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The Furies is currently screening as part of Monsterfest Australia

Australia seems to be bearing a knack of producing brutal, confronting horror films of late with its earnest and gritty portrayal of the Great Southern Land’s dark underbelly. The Furies is no exception, subjecting its audience to a savage tale of survival with a sci-fi twist. As the title of the movie suggests, The Furies could clearly be drawn from Greek mythology and the Erinyes, a trio of female deities who enact vengeance by punishing those who have wronged. In the tales, the Erinyes are formed by a trio of infernal goddesses, who carry out swift judgement on their assailants, although interestingly this trio shifts throughout the films narrative, but primarily centres on our lead heroine, Kayla (played by Airlie Dodds from the brilliant Killing Ground and the much-anticipated The Gloaming) a high school student who is kidnapped along with her best friend Maddie one night, and awakens in a metallic box labelled Beauty, in the middle of the Australian outback. 

Confronting her in her ordeal are a series of gruesomely masked antagonists that are hellbent on hunting her and the fellow survivalists down through predatorial and disturbing means that echoes the themes from Richard Connell’s The Most Dangerous Game, but director Tony D’Aquino amplifies the ferocity to keep the pace and tension at its highest throughout the film.
Hindering Kayla along the way is her own disability, epilepsy, that is being triggered regularly and when she blacks out, somehow can still see through the masked marauders eyes that are pursuing her and her fellow female survivors. Despite her setbacks, Kayla is determined to turn the tables, find her friend Maddie and soon realises how serious her plight is and must use her wits and strength to play ‘the game’ and find a way out.
The subject of hell and its torments are constantly at the forefront in The Furies and there are obvious comments to be held over the subject of how women are treated in society as they are exposed to, but why should they take part this ‘so-called’ game that has for so long been heralded by men. What would happen if women chose not to tolerate this behaviour anymore and reinvent the rules to put the power back in their favour? The pendulum has indeed begun to swing, and God forbid any who have wronged or inflicted any kind of oppressive behaviour towards women. The phrase, “hell hath no fury like a woman scorned’ comes to mind as we begin to champion Kayla’s growing strength and we as the audience will her to enact the vengeance these weak-minded fools behind ‘the game’ deserve. We can only hope that she somehow sees it through to the bitter end and survives, even if she does, what world then awaits her?

The Diagnosis:

The Furies is a savagely brutal insight into what lies beneath the veil of humanity through this bloody, demonstrative tale of survival. It may be a low-budget affair, but director Tony D’Aquino wrangles out enough disturbing and abhorrent scenes that the audience, like Kayla must endure the horror to its conclusion. Another fine entry into the Australian horror scene.

MONSTERFEST AUSTRALIA 2019 SCREENINGS

THU, 31ST OCTOBER, 9.30PM:
GU Film House, Adelaide
Event Cinemas, Myer Centre, Brisbane
Event Cinemas, George St, Sydney
Capitol Cinemas, Manuka, Canberra
Event Cinemas, Innaloo, Perth

  • Saul Muerte

Movie review: Satanic Panic

12 Saturday Oct 2019

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Satanic Panic is currently screening as part of Monsterfest Australia

We’re all aware of the stories behind the crazed occults and sexual degradation that lurk in the depths of American suburbia. Sensationalised through the late 70s, the myth that surrounds the wealthy devoting their lives in secret gatherings dedicated to the dark lord Lucifer and his minions, has been bubbling away under the surface ever since. Every so often it will awaken and threaten humanity, driving people into frenzy or a state of panic towards these heathens, only to simmer again. We also aware that there is no truth behind these stories too right?
That they are merely the stuff of fancy and whispers generated to send ripples through the neighbourhood to cast a shadow over those who just don’t seem to fit in…. Right?

These moments of hyperbole are at the core of Chelsea Stardust’s directorial feature debut as she rips the world open and ridicules the how the “other half” live with their vain pursuits for eternal life and satisfaction. 

Stardust’s muse to subject this world upon is pizza delivery girl, Sam, (expertly played by Hayley Griffith) who ventures beyond the borders of her route in the hopes of getting a decent tip. She gets more than she bargained for through her naivety and stumbles into a satanic ritual in need of a virginal sacrifice. 

What follows is a series of comical mishaps as Sam falls from one farcical scenario to another as the heightened mania drives the affluent satanists to extreme measures to ensnare their virgin. The coven is led by the brilliant Rebecca Romijn as Danica who is suitably macabre in her hellbent pursuit and is supported by Arden Myrin as Gypsy, who has pursuits of her own to lead the coven, and a cracking cast of cameos from Jerry O’Connell and Jordan Ladd.

Sam isn’t alone in her turmoil though, as she shares her burden with Danica’s daughter, Judi (Ruby Modine – Happy Death Day) who has her own handy insights into the black arts that could potentially see them through the night and not chained to the sacrificial altar. 

The Diagnosis:

Director Chelsea Stardust serves up a delightful platter of blood and mayhem from behind the doors of the rich and the fantastical elements that can be borne from satanic rituals. The effects are gloriously horrific and the cast play beat perfect performances, making this a rippingly fun ride of a movie and well worth your time.

MONSTERFEST AUSTRALIA SCREENINGS

FRI, 1ST NOVEMBER, 7PM:
Event Cinemas, Myer Centre, Brisbane

SUN, 3RD NOVEMBER, 6PM: 
Event Cinemas, George St, Sydney
GU Film House, Adelaide
Capitol Cinemas, Manuka, Canberra
Event Cinemas, Innaloo, Perth

  • Saul Muerte

Movie review: Porno

11 Friday Oct 2019

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https://www.youtube.com/watch?v=NIRro0eIPvY

Porno manages to tap into the celluloid lovers mainstream by essentially setting the film entirely within the confines of an art deco cinema with a strictly early 90s vibe and setting. In doing this, film director, Keola Racela catapults the audience into a world that invokes nostalgia and tackles some fun themes reminiscent of the time. 

The location is so integral to the central theme of buried, underground sex and shenanigans that we all harbour and fear of letting loose our greatest indulgences; the stuff of taboo that we are unwilling to face the repercussions of our fantasies. There was a time that those who wanted to get there kicks would do so in underground cinemas and lurk in the shadows of the auditorium to satiate these desires. Racela knows this and deliberately pokes fun at our shame by unleashing a sex demon that has been contained within a snuff film deep in the cinema’s basement on the quintet of characters (who just so happen to be Christian, which amplifies their repression) who are subjected to a journey where they must vanquish their inner most thoughts and survive the night. 

Forming the quintet is assistant manager, Chastity; projectionsist, Heavy Metal Jeff; Abe; Todd; and the stereotypical jock, Ricky, all of whom quander a secret that they try to keep buried. 

In addition we have the cinema manager, Mr Pike, who serves as a minister in the eyes of the youthful contingency, but he too has a concealment that he wishes to contain within his office. All these characters are ripe for a sex demon to seep their way into their minds, and pleasure them to death.

The Diagnosis:

This is pure fun and gloriously plays for laughs in the most puerile of senses, but equally casts the characters into a predicament that requires instincts, strength, faith and a little bit of kink.

Porno is currently screening as part of Monsterfest Australia

Sat, 2nd November, 1:45pm:
Event Cinemas, George St, Sydney
GU Film House, Adelaide
Capitol Cinemas, Manuka, Canberra
Event Cinemas, Myer Centre, Brisbane
Event Cinemas, Innaloo, Perth

  • Saul Muerte

Movie review: Scary Stories To Tell In The Dark

02 Wednesday Oct 2019

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Maybe it’s because I just saw Stranger Things and coming down from an IT high, but this film just seemed to miss the mark for me.
Scary Stories to Tell in the Dark follows the old folk tales we have heard before but great to see it get a filmic depiction of the cartoon series I remember as a kid called Freaky Stories, which I heard from a friend of a friend of mine was very enjoyable with little twisted tales like the woman had spiders in her beehive hair doo.
This movie emulates these old folk tales with the fantastical contribution of monsters designed by Guillermo del Toro.

It felt as though this style would work better as a Netflix or Stan episodic series as elements didn’t know where they wanted to be. It definitely felt half-baked like they were still mixing the ingredients together.

Scary Stories to Tell in the Dark follows a group of kids living in the suburbs of USA in the mid 1960’s, while breaking and entering an old mansion they steal a book from a dead girl that causes all manner of spookiness to ensue.

Scary stories are written in the book as they appear to devour those who were there when the book was taken. Mischievous hijinks abound.

The Diagnosis:

The monsters were great but with a half-baked ensemble from the get go. It was difficult to get hooked.
Take two episodes of Stranger Things with a glass of IT twice a day to wash out the taste.

  • Dr. Richard Lovegrove and Anesthesiologist Kelsi Williams

Movie review: The Dead Don’t Die

29 Sunday Sep 2019

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The Dead Don’t Die is a classic example of how marketing can abuse the cinema-going public into flocking to the cinema in anticipation of a certain type of movie based on its trailer, only to be completely underwhelmed. Packed with an awesome cast in Bill Murray, Adam Driver, Chloe Sevigny, Tilda Swinton, Tom Waits, and Danny Glover, to name but a few, we’re led to believe that the film would tap into a beating, bloody pulse, with rampaging zombies and killer comedy lines akin to Shaun of the Dead. In some ways, it felt like “they” were trying to market an independent, off-beat film and project it into mainstream culture to ride the coattails of a genre that is hot property right now. You could argue, that this is the job of a production distributor, and if they are comfortable with pulling in the punters and forego the negative backlash, then so be it. In this humble writers mind, it sets the movie in a bad light and the shadow that this may cast will be forever enveloped in darkness. 

Those who are more familiar with director Jim Jarmusch’s work though, may have gone in with a more open mind and curious to see how he would weave a horror-themed element into his minimalist narrative. There’s a reason that big-hitter names are constantly drawn to his style of work as Jarmusch favours character development and eccentricity tends to be brought to the fore among a slow-yet-comedic pace. Movies such as Night on Earth, Dead Man, and Ghost Dog: Way of the Samurai resonated with the cinema-going public in search of an alternate view on the celluloid screen. So, I was hopeful that TDDD would pep along and perhaps add something to the genre that would offer something fresh to the mix. Unfortunately the offering is stale and weak in comparison to Jarmusch’s early work and there is nothing new on the slab to satiate fans of the genre. It’s almost ironic that the look and feel of the movie is reminiscent of B-Movie horror films of the 50s, (possibly an area true to Jarmusch’s heart) in that TDDD is trapped in this time and place and feels content to sit in its world, unwilling to conform with modern trends and interests. Similarly, its leads Chief Cliff Robertson (Murray) and Officer Ronnie Peterson (Driver) are stuck in the middle-town sentiments, that they are the rest of the town are doomed to the post-apocalyptic zombie crisis that has fallen on them. In fact, it’s the bumbling hermit (Waits) who is content in living amongst the wild and restless that may outlast and outwit them all, which in of itself poses some interesting questions. Questions that by the films conclusion, most viewers would have lost interest.

The acting was strong and a stand out for me was Caleb Landry Jones (Get Out) as the gas station attendant and is fast becoming an actor to watch, but ultimately there wasn’t enough substance to grip my attention.

The Diagnosis:

For horror fans, this movie is D.O.A.

For Jarmusch fans, it’s full of nods and references, but it isn’t on par with his best movies. One for completists only.

  • Saul Muerte

Movie review: It Chapter Two

21 Saturday Sep 2019

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Two years ago, I walked into an auditorium to sit down and watch It: Chapter 1 with some horror-loving friends, some of whom were devoted Stephen King fans eager to see what a modern adaptation would look like. I was admittedly a little apprehensive, as I had strong pangs of nostalgia from the 90s mini-series starring Tim Curry, which had its scares but was ultimately let down by its weak ending, which left room for improvement. Further reservations were also abound by my underwhelming reaction to Mama, Andy Muschietti’s directorial feature debut, but I was willing to forego any misgivings and not judge on a token outing from the director and I was also open to seeing Pennywise in the 21st Century and how he would relate to the current cinema-going audience. 

It turns out that Warner Bros. marketing team tapped into the social platforms of the “connected” generation and elevated the dancing clown into the pop culture mainstream, thanks partly to the look that was generated by the production team and Bill Skarsgård respectively. Whilst the movie itself didn’t resonate with me the same way it appeared to with the younger demographic, as I found the film lacked in decent scares, resorting to jump scares and it didn’t shift into dark enough territory for me, and Pennywise never terrified or disturbed enough, so I was left wanting as a result. It did however tap into one of King’s strongest elements in his writing and that is in its young misfit characters that unite against a common enemy that was imperative for the movie to have any chance of impacting at all. Here, Bill, Beverly, Ben et al had such a strong connection, that we were willing to go along for the ride for good or ill.

Fast forward to today and the passing of time has seen some changes in the Surgeons team. Some have left for other ventures or simply shifted into a whole new reality, and on this occasion I found myself without my usual horror-loving fiends alongside me and would have to face Pennywise on my own, a juxtaposition to the comrade of adult characters in the film, who depend on one another to defeat Pennywise once and for all. 

My expectations were considerably low this time around following the first movie, but I was pleasantly surprised by this second instalment. The scares were still absent, but the adventure packed scenario that The Losers were confronted with this time around were made for entertaining viewing, mainly thanks to Bill Hader (Richie) and James Ransome (Eddie) who churn out strong performances and in many ways overshadowed the more A-list actors, James McAvoy (Bill) and Jessica Chastain (Beverly) who could have just phoned it in and weren’t really able to add much depth to their characters despite the near 3 hour running time. 

So if character development isn’t packed into the time frame, then what exactly fills the narrative? It has a fairly weighty narrative, and to Muschietti’s credit, he manages to sandwich in a fair amount of the original story or concept into his version with a few notable exceptions, and in doing  so, I was happy to one again be taken along the journey to its CGI-filled conclusion. One that was questionable but still managed to tug at the heart-strings in the quest for victory.

The Diagnosis:

Pennywise still failed to scare despite Skarsgård’s unique portrayal and Chapter 2 feels content to rest on a more feel-good, fun ride to conclude the Loser’s Club’s adventures against the dancing clown. Horror fans will once again feel robbed of what could have been a dark and destroying creature that feeds on our greatest fears, but will be entertained nonetheless. 

The ultimate test will be if it resonates with the audience for the production distributors to warrant another visit to Derry and spark an ongoing franchise into the mythology of Pennywise. Time will tell. 

  • Saul Muerte

Losers comments

Like comedic relief, Bill Hader has the best lines, but it felt like the director was playing for laughs rather than decent scares.

Nick – Watch It Wombat

IT chapter two is a fun romp sadly ending in just one more film about the fear devouring Macroverse entity who appears to cheerfully as a psychotic clown.
Bill Skarsgard reprises the role as the young’uns return to Derry, Maine 27 years after thinking they had defeated IT.
The adult cast all delivered stellar performances channeling their younger personas but Bill Hader’s Ritchie was a personal favourite.
As a fan of the 80’s miniseries I personally liked the updated take on this terrifying journey.

Dr. Richard Lovegrove

You gotta be fuckin’ kidding…

Dr. Antony Yee

Movie review: Depraved

20 Saturday Jul 2019

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Set among the forest of buildings that is New York, director Larry Fessenden retells one of horrors best written tales ever written by not only shifting the setting and the time period but the focus of the subject. One is reminded of the quote “An intelligent man knows Frankenstein wasn’t the monster. A wise man knows that Frankenstein was the monster?”.

Amidst a dusty warehouse apartment with a shonky makeshift lab we find Alex is struggling to bring his creation to life together with his partner, Polidori, (famous for writing “The Vampyr” in 1816 as part of a contest including Mary Shelley, Lord Byron, Percy Shelley).

The strong motif of PTSD plays throughout the film complimented by the cinematic angles and camera movements, as much of the film is achieved using POV shots, which made a far more honest portrayal of the beast, the monster … Adam. Though this film was shot on a budget, this is not at all apparent besides some tight shots during a roof top fight scene but it does not detract from this brilliantly eerie film.

  • Richard Lovegrove

Movie review: Tales of Frankenstein (2018)

20 Saturday Jul 2019

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Donald F. Glut takes on both writing and directing duties to oversee an adaptation of his collection of short stories, which serves as a ‘love song’ to Mary Shelley’s creation. It’s hard to believe that Shelley’s novel celebrated its bicentenary last year, and Glut certainly knows his subject, pouring into every crevice of his source material to pay homage to and draw out four stories.

Our first story, “My Creation, My Beloved” set in Bavaria, 1887, is probably the most faithful with a Frankenstein descendant, who is a cross between the scientist and deformed assistant, Igor, continues in his ancestors obsession for resurrection and beauty, only to be thwarted in his own lustful pursuit. Excellent performance here from Buddy Daniels Freedman as Dr Gregore Frankenstein.

The second tale, “Crawler from the Grave” feels like the most fun, and finds ourselves in Switzerland, 1910 and sees John Blyth Barrymore (Full Moon High) as Vincent, another Frankenstein descendant who is hunted down by a disembodied hand from the grave. 

Our third story, “Madhouse of Death” felt the weakest of the quartet of tales in my humble opinion, but this could very well be down to taste. Set in Los Angeles, 1948, the story also serves as a salute to the golden era of Hollywood and the film noir detective films with Sam Malone et al, and for that I commend its approach. Essentially we see a detective take on more than he gambled when he uncovers an old house full of crazies and home to a gorilla.

The last tale ends strongly, and in many ways one after my own heart, as those who know me can attest, as it is the most closely associated with the Hammer Horror films that I grew up with as a kid. With “Dr. Karnstein’s Creation” set in Transylvania, 1957, we’re presented with a clever fusion between Frankenstein and the most infamous creature of the night, Dracula complete with torch wielding locals hellbent on turning the tables on the mad doctor who resides in the castle. Another fine performances in this section, notably from Jim Tavaré.

The Diagnosis:

You can tell that the creators are a lover of their subject and embellish Mary Shelley’s story for a modern generation whilst still staying faithful to its origins. Director/writer Glut carves up four fantastic stories that reawaken the macabre moments that made Frankenstein a household name in horror and celebrates 200 years, highlighting the reasons why this ageless tale will never die. 

Movie review: Crawl

17 Wednesday Jul 2019

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I have to say that I honestly don’t think I’ve had this much fun watching a movie at the cinemas for quite some time. Sure, this little movie does a lot to stretch the realms of believability, especially bearing in mind that there is supposed to be a category 5 hurricane bearing down on our father-daughter duo battling for survival, and some of the actions of the killer crocs also fall into question, but by the time this all unfolds I’m willing to forgo these discrepancies and this has a lot to do with the time and care taken into building character and history, so that your focus is on backing them against the odds. 

The strength of the actors portraying the afore-mentioned father (Barry Pepper) and daughter (Kaya Scodelario) should also be acknowledged as they share the brunt of the on-screen time to portray the broken family dynamic that has formed between the two of them. Once inseparable as Hayley has been pursuing a swimming career, backed by her one-time coach, and father, Dave. Time and circumstances have allowed them to drift apart, but when crisis hits (in the form of that hurricane) Hayley ventures to find her father, who is failing to answer his phone. She soon discovers that he has had some kind of accident in the crawl space of the old family home, but that is the least of her worries, as Dave isn’t the only occupant lying under the house. Cue, giant croc. 

The screenplay allows the usual pitfalls and obstacles that stand in their way to fight for survival to appear believable, and the bond between the two leads strengthens as they literally find themselves in the foundations of their relationship, to not only find common ground, but also build/fight their way out to the top come hell or highwater. 

Hats off too to Alexandre Aja, who back in 2003 entered the horror genre with his hands firmly on the jugular with High Tension and then backed it up with the insane and gloriously over the top The Hills Have Eyes remake, before falling on the wayside with his outings since. Whether, it was working alongside Sam Raimi’s production team, Aja hits his stride once again in Crawl and positions himself as a director who can inject so much pain and torture in his characters that it’s a wonder that anyone can survive such an ordeal. The tension at times is intense and Aja, does enough to crank it to the max when it’s called for and dial it back to allow the characters and his audience to breathe.

The Diagnosis:

For its short running time of just under the 90 minute mark, Aja packs in enough grit, and determination, in this intense, blood-riddled battle for survival, that we can only enjoy the ride. 

Movie review: Annabelle Comes Home

05 Friday Jul 2019

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Like a cabin in the woods filled with a basement of evil paranormal beasties, this latest edition to The Conjuring universe features good ol’ 70s style babysitter shenanigans along with fresh new souls to welcome the return as, Annabelle Comes Home.

First time director, Gary Dauberman, is no stranger to the franchise having been screenwritter for Annabelle (2014), Annabelle: Creation (2017), and The Nun (2018) as well as the co-writer for the remake of Stephen King’s  It (2017) and its upcoming sequel It Chapter Two (2019).

Annabelle Comes Home keeps audiences on the edge of their seats with an awesome sound design, some nice fake outs, creepy reveals, great gimmicks – providing you can look past a continuity error when one of the game pieces suddenly changes colour from red to green.

  • Richard Lovegrove