Category Archives: Movie review

The Gorge (2025) – A Visually Striking Yet Uneven Descent

16 Sunday Feb 2025

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Scott Derrickson’s The Gorge (2025) is a film brimming with promise, a high-concept action thriller that attempts to blend existential depth with pulse-pounding survival horror. Known for his ability to balance terror and emotion (The Exorcism of Emily Rose, Sinister, Doctor Strange), Derrickson crafts an ambitious narrative, but despite its stunning visual execution and compelling leads, the film struggles to fully immerse the audience before it reaches its true stakes.

Miles Teller and Anya Taylor-Joy bring a welcome chemistry to the screen, embodying two highly trained operatives assigned to opposite sides of a seemingly insurmountable gorge. Their dynamic is at the heart of the film, offering a blend of tension and reluctant camaraderie that gradually builds into something more profound. Teller’s rugged intensity contrasts well with Taylor-Joy’s ethereal yet steely resolve, making their interactions compelling even when the story falters.

The film’s core themes—uncertainty, forced isolation, and the necessity of connection—are its most intriguing elements. The gorge itself serves as both a physical and metaphorical chasm, a representation of the vast emotional and ideological distances that separate us. Derrickson is no stranger to exploring the psychological strains of confinement and survival, and The Gorge is at its best when it leans into this existential unease. The idea that we must plunge into the abyss together to find true connection is a powerful one, but the film often stumbles in delivering this emotional payoff.

The emergence of the mysterious evil lurking below should serve as the catalyst for a gripping second half, yet the film lingers too long on its setup. While tension builds effectively, the story meanders in its attempt to establish a connection between the leads, losing narrative momentum before the stakes fully materialise. By the time the horror takes centre stage, the audience’s investment feels slightly strained, making the ultimate conflict feel less urgent than it should.

The Prognosis:

Derrickson’s visual craftsmanship and the undeniable chemistry between Teller and Taylor-Joy elevate The Gorge, making it an intriguing but flawed experience. Its themes of human connection and survival resonate, yet the film struggles under the weight of its own philosophical ambitions, delaying the inevitable descent into true terror. By the time the audience is fully engaged, it feels as though the film has only just begun to reveal its true depths. A fascinating misstep, but a misstep nonetheless.

  • Saul Muerte

The Gorge is available to stream on AppleTV+

Little Bites (2025) – A Slow Burn That Barely Smolders

16 Sunday Feb 2025

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Premiering exclusively on Shudder and AMC+, Little Bites is the latest horror offering from director Spider One, known for his work on Allegoria. This time, he crafts a slow-burn psychological horror that takes its time unraveling its mysteries—perhaps too much time. While the film eventually delivers a striking conclusion, the road to get there is uneven, relying on atmosphere and suggestion rather than sustained tension or narrative drive.

At the heart of the film is Krsy Fox, who also edited the feature. She delivers a subdued but emotionally raw performance as a single mother grappling with an unseen force, her weary expressions and hushed delivery emphasising the toll of her situation. The film leans heavily on her ability to carry the story, and while she does an admirable job, the script doesn’t always give her enough to work with. For much of the runtime, she feels trapped in a cycle of quiet suffering, with little forward momentum until the film’s final stretch. When she finally gets the chance to break free in the climax, she commands the screen—but by then, some viewers may have already checked out.

One of Little Bites‘ most notable draws is the inclusion of horror icons Barbara Crampton and Heather Langenkamp. Unfortunately, their roles are brief, more like cameo appearances than substantial contributions to the narrative. While their presence adds credibility and a nostalgic thrill for genre fans, it’s ultimately underutilised, leaving the film feeling like a missed opportunity to fully embrace its horror lineage.

Visually, the film is draped in a bleak, muted aesthetic, reinforcing the protagonist’s isolation and dread. Spider One’s direction is methodical, favoring slow, creeping tension over jump scares or overt horror spectacle. While this approach has the potential to be effective, the film struggles with pacing, often lingering on scenes that don’t add much beyond mood-setting. The ambiguity of the horror elements is intriguing at first but becomes frustrating as the film continues to withhold key developments for too long.

Despite these flaws, Little Bites does have its moments, particularly in its final act. The slow burn finally ignites into something far more compelling, delivering a climax that is both visceral and visually impactful. It’s a glimpse of what the film could have been had it maintained that level of engagement throughout.

The Prognosis:

Ultimately, Little Bites is a film that asks for patience—perhaps too much. While Krsy Fox gives a solid performance and the conclusion lands with force, the journey to get there is underwhelming. For those who appreciate methodical psychological horror, there’s something to admire here, but for most, the film’s lethargic pace and lack of urgency may leave them craving something with more bite.

  • Saul Muerte

Little Bites will be streaming on Shudder from Fri 21st Feb.

The Dead Thing (2025) – A Haunting Descent into Obsession and the Unknown

09 Sunday Feb 2025

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Shudder’s latest original, The Dead Thing, is a slow-burning, atmospheric descent into grief, trauma, and something even more unearthly. Directed with a steady, unsettling hand, this supernatural thriller refuses to play by conventional horror rules, opting instead for a creeping dread..

At the heart of the film is Alex (Blu Hunt, The New Mutants), a young woman adrift in a sea of meaningless encounters, numbed by her own detachment from the world. When a seemingly random dating app match leads her to Kyle (Ben Smith-Petersen, Mad Max: Fury Road), their connection is instant, electric—yet fleeting. The morning after, Kyle vanishes without a trace, leaving behind an aching absence that sends Alex spiraling into a desperate search for answers. What she uncovers is a chilling revelation that warps the boundaries of reality, dragging her into an inescapable cycle of obsession, dependence, and something far darker than she could have imagined.

Blu Hunt delivers a powerhouse performance, embodying Alex’s hollowed-out existence with eerie precision. Her portrayal of emotional disconnection makes her eventual unraveling all the more compelling, as she clings to Kyle in a feverish attempt to grasp at something—anything—real. The film’s hypnotic pacing mirrors her descent, pulling the viewer into a suffocating atmosphere of existential dread.

What sets The Dead Thing apart is its layered exploration of trauma, not just in the psychological sense, but in the way it fractures time, memory, and even space. The film flirts with the astrophysical, hinting at horrors that exist beyond human perception, yet tethered to the deeply personal. It’s an unnerving blend of body horror and cosmic unease, where love and terror become indistinguishable.

Director Elric Kane crafts a film that rewards patience. Those expecting conventional horror beats may find themselves frustrated, but for those willing to embrace its methodical pacing and brooding atmosphere, The Dead Thing delivers a uniquely unsettling experience. With haunting imagery, a skin-crawling score, and a gut-punch of an ending, it cements itself as one of Shudder’s most memorable releases in recent years.

The Prognosis:

A terrifying meditation on trauma and the lengths we go to feel alive again, The Dead Thing lingers like a half-remembered nightmare—one you might not want to wake up from.

  • Saul Muerte

The Dead Thing will stream on Shudder from Fri 14th Feb.

Welcome (2025) – A Tense, Thought-Provoking Thriller That Finds Strength in Shades of Grey

08 Saturday Feb 2025

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Jevon Boreland’s Welcome arrives as a psychological thriller that thrives on ambiguity, moral complexity, and unsettling tension. While its modest budget is apparent at times, strong performances, well-crafted cinematography, and an antagonist with unexpected depth elevate the experience beyond the usual home-invasion fare.

The film follows expectant parents Darren (Emidio Lopes) and Sasha (Shailene Garnett), who set out for a romantic getaway in the countryside, only to find their retreat disrupted by their overly attentive landlord Eric (Emmanuel Kabongo) and his unsettling wife Millie (Brianna Goldie). What begins as an awkward intrusion soon spirals into something far more sinister, as paranoia and hidden motives turn their weekend into a nightmare.

Rather than presenting a clear-cut hero-villain dynamic, Welcome plays in murky waters, forcing viewers to question not just Eric’s unsettling presence but also the past decisions of Darren and Sasha. The film leans into psychological horror more than outright terror, making its tension feel more cerebral than visceral.

Boreland and his team craft a tightly wound narrative that benefits from strong character work, a script that keeps you guessing, and moments of quiet, creeping dread. The cinematography enhances the sense of isolation, giving the film an eerie beauty that contrasts with its darker themes. Kabongo, in particular, delivers a performance that straddles menace and sympathy, making Eric one of the more compelling antagonists in recent genre fare.

However, Welcome doesn’t fully capitalise on its tension. The slow build is effective, but some stretches of the film feel drawn out, and when things finally escalate, the payoff is more unsettling than shocking. Additionally, while the script is solid, certain character decisions feel forced, occasionally stretching plausibility.

The Prognosis:

Welcome is a solid psychological thriller that asks unsettling questions about morality, past choices, and the blurred lines between villainy and victimhood. While its pacing and budget limitations hold it back from greatness, the film’s strong performances and commitment to ambiguity make it a worthy entry in the genre. If you enjoy thrillers that leave you pondering. Welcome is worth a visit.

  • Saul Muerte

Welcome is available to stream on demand from Feb 11 through Breaking Glass Pictures.

Monster Summer (2025) – A Nostalgic but Uneven Family Horror Adventure

06 Thursday Feb 2025

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Somewhere between Goosebumps and The Goonies, Monster Summer tries to capture that elusive blend of childhood adventure, light horror, and 80s-style camaraderie. Directed by David Henrie, the film delivers a charming, if slightly uneven, ride through the thrills of a summer setting gone awry, boosted by a cast that lends it more weight than expected.

The story follows Noah (Mason Thames) and his friends as they uncover a supernatural force disrupting their island’s summer festivities. With the help of a retired detective (Mel Gibson, in a gruff but entertaining role), they set off on a quest filled with eerie encounters and mild scares. Lorraine Bracco adds a welcome presence to the ensemble, grounding the film’s more fantastical elements with her no-nonsense delivery.

The biggest strength of Monster Summer lies in its cast. Thames continues to impress as a young lead, while Gibson and Bracco bring a sense of old-school gravitas. The film also leans into nostalgia, evoking the spirit of classic kids-on-a-mission films, and it largely succeeds in crafting an adventure that feels accessible for younger audiences while still engaging for older viewers.

However, Monster Summer struggles with pacing. The first half builds up well, but the stakes never quite reach the intensity needed to make the adventure feel truly urgent. The mystery surrounding the “monster” is intriguing but ultimately plays it too safe, leaving the film feeling more like a fun diversion than a truly memorable entry in the genre.

The Prognosis:

Monster Summer is a light, enjoyable ride that taps into the nostalgic formula of kid-led horror adventures. It doesn’t break new ground, and some of its tension feels undercooked, but strong performances and a charming atmosphere make it worth a watch—especially for families looking for an entry-level horror experience.

  • Saul Muerte

Cinderella’s Revenge (2025) – A Pumpkin-Sized Misfire

05 Wednesday Feb 2025

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Riding the dubious wave of horror-fied childhood classics, Cinderella’s Revenge arrives with the promise of twisted fairy tale carnage. With Winnie the Pooh: Blood and Honey and its ilk paving the way, director Andy Edwards attempts to bring a slasher spin to the beloved tale of glass slippers and midnight transformations. Unfortunately, this grim retelling is more of a rotten pumpkin than a blood-soaked ball, failing to capitalise on its premise in any meaningful way.

The film follows Cinderella, who, after years of torment at the hands of her wicked stepmother, is granted freedom and power through her Fairy Godmother (played by Species star Natasha Henstridge). But instead of attending a magical ball, Cinderella embarks on a quest for vengeance, carving a path of bloodshed through her stepfamily and anyone else unfortunate enough to cross her.

It’s a fun idea on paper—turning the rags-to-riches fairy tale into a horror-tinged revenge flick—but Cinderella’s Revenge fumbles its execution at every turn. Rather than fully embracing the absurdity of its concept or delivering the kind of gleeful grindhouse thrills it desperately needs, the film lands in a no-man’s-land of weak gore, limp action, and half-hearted humour. Even the kills, which should be the film’s main draw, feel uninspired and rushed, as if the filmmakers ran out of ideas before they even got started.

The presence of Natasha Henstridge as the Fairy Godmother initially seems like a potential saving grace. Given the right material, she could have delivered a delightfully wicked performance, perhaps something akin to Maleficent by way of Evil Dead. But the script gives her little to work with, reducing her to a glorified exposition machine with occasional flashes of menace. Likewise, Cinderella herself lacks the charisma or depth to make her transformation into a bloodthirsty avenger compelling.

Perhaps the biggest problem is that the film never figures out what it wants to be. Is it a straight horror movie? A tongue-in-cheek slasher? A dark fantasy revenge tale? Instead of committing to any one tone, Cinderella’s Revenge awkwardly lurches between them, resulting in a film that feels both tedious and lifeless.

While the trend of turning public domain fairy tales into horror movies isn’t inherently a bad idea, Cinderella’s Revenge serves as a cautionary tale of how not to do it. Lacking style, wit, or even the basic competence to deliver enjoyable schlock, this is one fairy tale that should have stayed on the shelf.

  • Saul Muerte

Wolf Man (2025) – Leigh Whannell’s Howl Fails to Resonate

05 Wednesday Feb 2025

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Leigh Whannell’s Wolf Man arrives with the weight of expectation, following his 2020 critical and commercial hit The Invisible Man. Much like its predecessor, the film modernises a Universal Monsters classic, filtering it through Whannell’s sleek, grounded style. But whereas The Invisible Man thrived on paranoia, tension, and social relevance, Wolf Man struggles to find its footing, delivering a film that is as unsteady as its protagonist’s transformation.

The story follows Blake (played by Christopher Abbott), a man whose troubled marriage leads him and his wife Charlotte (Julia Garner) to his secluded childhood home in rural Oregon. What starts as an attempt at reconciliation quickly turns into a nightmarish ordeal when they’re attacked by an unseen creature. As Blake’s behaviour grows increasingly erratic, the lines between man and beast blur, forcing Charlotte to confront a horrific truth.

At its core, Wolf Man treads familiar ground—Whannell’s fascination with the human body in flux is evident, echoing Upgrade (2018) in its depiction of involuntary transformation. However, unlike Upgrade, which explored its themes with a sharp, kinetic energy, Wolf Man feels oddly inert. The family dynamic, which should be the film’s emotional anchor, is frustratingly underdeveloped. The tension between Blake and Charlotte lacks depth, reducing their relationship to a mere setup for the inevitable carnage. Without a strong emotional core, the horror feels weightless, and the film’s attempts at suspense suffer.

Where The Invisible Man thrived on paranoia and psychological tension, Wolf Man attempts to create a similar claustrophobic dread but fumbles in execution. The couple’s choices feel forced rather than organic, making their descent into terror feel more like a scripted inevitability rather than an authentic unraveling. The film teases interesting ideas—Whannell is clearly drawn to the horror of losing control, both physically and mentally—but they never quite coalesce into something meaningful.

The Prognosis:

Visually, Whannell maintains his knack for stylish, stripped-down horror, and there are fleeting moments of genuine unease. The practical effects and creature design are commendable, but they can’t compensate for the film’s lack of narrative momentum. Despite solid performances, Wolf Man ultimately feels like a missed opportunity—a film that howls at the moon but never quite sinks its teeth in.

  • Saul Muerte

Steven Soderbergh’s Presence: A Chilling Descent into the Unseen

03 Monday Feb 2025

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A family move into a new home and begin to suspect that there is a supernatural “presence” also in the house.

So, what next? Charge it rent?

Don’t be silly, it’s not a comedy.

“Presence” is a new supernatural thriller from “retired” (quotation marks used for sarcasm) director Steven Soderbergh.

Look, to be honest, this reaffirms that old saying of – ‘there’s no new stories, just different ways to tell them.’ And this is one of those.

Told from the perspective of the entity itself, this is not too dissimilar to last years “In A Violent Nature,” where we see a traditional horror, this time a ghost story, from a different viewpoint.

Tech-wise, as a fellow filmmaker/video producer I went into a tech nerd-spin with how they shot this. Shot with a Sony A9 III, because of its global shutter meaning in basic terms: it captures all of the pixels at once and you don’t have that bendy-wendy-wobbly look (yes, that term is absolutely a tech term, in fact it’s trademarked to me) when you whip the camera around like most digital cameras that have a rolling shutter.

So, Soderbergh (using the pseudonym Peter Andrews as Director of Photography) essentially chucked the Sony camera on a gimbal with a 14mm Sony G Master lens and wandered around the house capturing the action. Lighting-wise, this was all done via available/practical lights. The cast have stated in interviews that the bulbs in the lamps/house lights were a lot brighter than normal bulbs, which makes me suspect that he used the Aputure Accent B7C practical bulbs so he could adjust brightness/temp/colour.

But all that tech jargon aside, what makes this super-interesting is Soderbergh once again strips back the budget constraints of feature filmmaking, buying the camera/lights/gimbal/lens would’ve come in at less than $30k. And just as he did with “Unsane,” where he shot it all on an iPhone, Soderbergh shows modern filmmakers that story is key.

Now does the story stand up?

Meh, kinda.

I really enjoyed it and not just for the tech-nerd stuff. Story wise, it’s a fairly standard ghost story. But it’s told well.

Would I pay to see it at the cinema?

Probably not. This definitely reminds me of those “Hammer House of Horror”/”Tales From The Unexpected” type TV films.

So maybe save your pennies and wait for it to hit the streaming services.

It is very enjoyable though and I recommend it.

I can absolutely see it making my top ten horrors of 2025.

  • Myles Davies

Dark Match (2025): Wrestling Meets Cult Horror in a Middling Smackdown

30 Thursday Jan 2025

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When Dark Match hits Shudder later this month, viewers can expect a wild mix of professional wrestling theatrics and cult-horror chaos. While the premise promises over-the-top fun, the execution leaves much to be desired. This film delivers what’s advertised—a gritty, campy wrestling death match with horror flair—but not much beyond that.

At its core, Dark Match feels like a straightforward revenge-horror flick cloaked in wrestling gear. The narrative leans heavily into the “outsiders stumble into a backwoods nightmare” trope, with the wrestling company’s clash against a bizarre cult playing out as predictably as a scripted match. Though the concept teases originality, the story rarely rises above mediocrity.

What elevates Dark Match is its eclectic cast. Steven Ogg (The Walking Dead) leads the charge, bringing his trademark intensity and a simmering edge to the role of the company’s jaded leader. Sara Canning (Influencer) shines as the voice of reason, adding some much-needed emotional grounding. Wrestling legend Chris Jericho brings charisma and authenticity to the ring, while Ayisha Issa adds flair with her formidable screen presence.

The ensemble is undeniably talented, but the material they’re given limits their potential. Despite their best efforts, the characters feel underdeveloped, and the performances struggle to rise above the film’s lacklustre script.

Director Lowell Dean attempts to meld the visceral chaos of wrestling with the unnerving dread of a cult thriller. The result is a film that delivers a few entertaining sequences but fails to create lasting impact. The wrestling scenes are gritty and energetic, though they lack the spectacle needed to captivate non-wrestling fans.

The horror elements, meanwhile, are serviceable but never fully realised. The cult’s devious plans feel thinly sketched, and the tension rarely escalates beyond surface-level scares. The film’s low-budget charm shines through in its practical effects, but the overall execution feels too rough around the edges.

For fans of wrestling or low-budget horror, Dark Match might offer enough campy fun to warrant a watch. Its mash-up of two niche genres is undeniably intriguing, and the performances provide occasional sparks of brilliance. However, the film’s inability to fully commit to its premise or deliver a compelling story ultimately relegates it to the undercard.

Dark Match does exactly what it says on the tin—no more, no less. While it may not win any belts for originality, it’s a quick, bloody bout that some viewers will enjoy for its novelty alone.

  • Saul Muerte

Dark Match will be streaming on Shudder from Jan 31.

Companion (2025): A Sharp Blend of Humour, Tragedy, and Tech Gone Wrong

27 Monday Jan 2025

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Drew Hancock’s Companion delivers a compelling exploration of power, greed, and the consequences of unchecked technological advancements. Set against the backdrop of a mysterious lakeside estate, the story begins with the death of a tech billionaire whose legacy of innovation casts a dark shadow over the weekend gathering of Iris (Sophie Thatcher) and her friends. What unfolds is a biting mix of humour and tragedy, wrapped in a thriller that feels both timely and timeless.

Hancock masterfully balances tones, infusing moments of sharp wit and levity into a narrative underpinned by unsettling themes of patriarchy and dominance. While the premise of advanced tech gone wrong is far from novel, the execution feels fresh, thanks to a sharp script and keen direction that probes the darker side of human ambition and control. The tension rises organically, with moments of absurdity that give way to genuine horror and introspection, reminding viewers of the perils of idolising innovation without question.

The ensemble cast shines, each member bringing depth to characters that could have easily been archetypes. However, it’s Sophie Thatcher who steals the show. Building on her growing list of impressive performances, Thatcher brings vulnerability and resolve to Iris, anchoring the story with a character we can’t help but root for. Jack Quaid, Rupert Friend, and Harvey Guillén also stand out, each adding unique texture to the film’s examination of power dynamics and greed.

The setting—isolated yet luxurious—becomes a character in itself, mirroring the contradictions of a world driven by progress yet haunted by its moral compromises. Hancock’s direction captures this duality beautifully, complemented by a sleek visual style and a score that oscillates between unsettling and darkly comedic.

Companion doesn’t reinvent the wheel, but it offers a thought-provoking and entertaining ride. It’s a story that reminds us of the dangers of letting technology dictate our humanity, but it does so with a wink and a smirk, never losing its sense of humour amidst the tragedy. Hancock proves himself a director to watch, and with Companion, Sophie Thatcher only further solidifies her status as one of the most promising talents of her generation.

If you’re looking for a clever, tech-infused thriller with a satirical edge, Companion is a solid choice—one that leaves plenty to ponder well after the screen fades to black.

  • Saul Muerte

Companion will be released in Australian cinemas from Thu 31st Jan.