Category Archives: Movie review

Movie Review: Time Cut (2024) – A Misstep Through Time

23 Monday Dec 2024

Posted by in Movie review

≈ Leave a comment

Tags

, , , , , ,

Netflix’s Time Cut ambitiously attempts to blend time-travel mechanics with the slasher genre but ends up feeling like a weaker shadow of last year’s Totally Killer—a film that itself was only moderately successful. Directed by Hannah MacPherson and co-written with Michael Kennedy, the film stars Madison Bailey, Antonia Gentry, and Griffin Gluck in a story about familial bonds, personal redemption, and an overly complicated time loop that never quite clicks.

Set in the sleepy town of Sweetly, Minnesota, the narrative follows Lucy Field (Bailey), a young inventor who accidentally stumbles upon a time machine and travels back to 2003, just days before her sister Summer (Gentry) is murdered by the Sweetly Slasher. The setup initially teases intrigue: Lucy’s quest to save her sister from a grim fate while unraveling the mystery of a masked killer. But what could have been a thrilling fusion of Back to the Future and Scream collapses under a bloated script and inconsistent pacing.

The plot is weighed down by convoluted exposition and uninspired twists. While the reveal of the Sweetly Slasher’s identity—a future version of Quinn (Gluck), driven to madness—seeks to add emotional depth, it feels both predictable and underwhelming. Time-travel paradoxes, instead of enhancing the stakes, muddy the narrative.

On the positive side, Madison Bailey brings a commendable sincerity to Lucy, making her a relatable protagonist. Antonia Gentry, as Summer, delivers an emotionally charged performance, particularly in her scenes of reconciliation with Lucy. Their chemistry anchors the film, providing fleeting moments of genuine warmth.

The movie falters most in its inability to balance tone. The slasher elements lack tension, the sci-fi aspects are half-baked, and the humour—intended to offer levity—rarely lands. Moreover, the production design fails to convincingly evoke the early 2000s, a glaring oversight in a film that relies on its period setting.

Comparisons to Totally Killer are unavoidable, and unfortunately, Time Cut pales in every regard. Where Totally Killer leaned into its absurdity with a tongue-in-cheek charm, Time Cut takes itself too seriously, resulting in a tonal mismatch that alienates the viewer.

In the end, Time Cut is a classic case of wasted potential. While its premise and cast hint at something greater, the execution is lacklustre, leaving audiences with a film that neither entertains nor innovates. For those seeking time-travel thrills or slasher chills, it’s better to skip this cut entirely.

  • Saul Muerte

Time Cut is currently streaming on Netflix.

Late-Night Terror Served with a Side of Jessica Belkin’s Brilliance in Last Straw

22 Sunday Dec 2024

Posted by in Movie review

≈ Leave a comment

Tags

, , ,

“A slow boil of diner terror saved by Jessica Belkin’s fierce lead performance.”

In Last Straw, director Alan C. Peterson takes a stab at rural horror, setting the stage in an eerily isolated roadside diner where chaos unfurls during one fateful night. The film serves up a premise brimming with promise but ultimately struggles to bring its ingredients together into a fully satisfying dish. What salvages the movie is Jessica Belkin’s standout performance, which adds surprising depth and urgency to an otherwise uneven thriller.

The story unfolds at Nancy’s Diner, a small-town eatery with a big attitude problem, thanks to its hard-nosed owner Nancy (Jessica Belkin). After firing her unreliable staff, Nancy decides to take on the final shift herself, unaware that she’s about to endure the longest and most dangerous night of her life. As the hours tick by, sinister forces make their presence known, and the diner becomes the site of a gruesome killing spree.

At its core, Last Straw is a survival horror flick with a claustrophobic atmosphere and a handful of brutal set pieces. The film explores themes of isolation, regret, and resilience, but its attempts to dive into deeper emotional territory often feel half-baked.

Strengths: Jessica Belkin Shines

Belkin carries the film with a steely yet vulnerable portrayal of Nancy, a woman grappling with her own mistakes while facing an escalating nightmare. Her performance is magnetic, injecting the character with a fiery determination that keeps viewers invested even when the narrative falters. Belkin’s ability to oscillate between fear, rage, and resolve anchors the film, making Nancy a compelling final girl in a genre that thrives on them.

Weaknesses: Familiarity Breeds Predictability

Unfortunately, Last Straw falters under the weight of its overly familiar tropes. From the “lone survivor in a remote location” setup to the predictably unhinged antagonist, the film rarely ventures beyond well-trodden ground. The tension is intermittently effective but often deflated by an over-reliance on jump scares and a sluggish pace that drags in the middle act.

The film’s attempts at psychological depth—manifested in Nancy’s flashbacks and inner turmoil—feel surface-level and fail to connect meaningfully with the larger narrative. Supporting characters are largely forgettable, serving more as cannon fodder than as contributors to the story.

Atmosphere and Direction

Despite its shortcomings, Peterson creates a suitably menacing atmosphere. The diner’s confined space and harsh fluorescent lighting lend a sense of suffocating dread, while the sound design amplifies every creak, shatter, and scream. These elements provide occasional sparks of genuine tension, though they’re often squandered by a meandering script.

The Prognosis:

Last Straw is far from groundbreaking, but Jessica Belkin’s commanding performance elevates it above the realm of forgettable indie horror. The film’s hook—a nightmarish scenario in a seemingly mundane diner—is strong enough to keep viewers intrigued, even if the execution leaves much to be desired.

For horror fans who don’t mind a predictable ride with a few sharp turns, Last Straw might be worth a late-night viewing. But for those seeking innovation or depth, this is one diner where the menu doesn’t quite deliver.

  • Saul Muerte

Never Let Go: Survival Horror That Grips but Doesn’t Thrill

21 Saturday Dec 2024

Posted by in Movie review

≈ Leave a comment

Tags

, , , ,

Alexandre Aja’s Never Let Go offers a chilling yet uneven exploration of survival, isolation, and familial bonds under the shadow of a supernatural threat. Starring Halle Berry as the fiercely protective Momma, the film presents moments of genuine tension and intrigue but struggles to rise above its derivative foundation.

Set against the foreboding backdrop of an expansive forest, the story revolves around Momma and her two sons, Nolan (Percy Daggs IV) and Samuel (Anthony B. Jenkins), as they navigate a world seemingly overrun by an entity known only as “The Evil.” The family’s strict rituals—tied ropes, daily prayers, and isolation—serve as both their salvation and source of conflict.

Halle Berry delivers a raw and committed performance as a mother unraveling under the weight of paranoia and hunger. Berry’s portrayal grounds the film, lending depth to Momma’s escalating visions of supernatural horrors. Her scenes with Percy Daggs IV and Anthony B. Jenkins brim with palpable tension, highlighting the strain of survival on family dynamics.

The tension-building sequences—particularly a near-fatal encounter with “The Evil” and a brutal winter forcing difficult choices—showcase Aja’s talent for crafting dread. The film’s snowy, desolate landscapes and Robin Coudert’s haunting score amplify the atmosphere, creating an environment where danger lurks in every shadow.

Yet, Never Let Go falters in its reliance on familiar survival horror tropes. The central mystery of “The Evil” is teased effectively but never fully realised, leaving viewers with a predictable twist and a sense of missed opportunity. While the narrative toys with psychological ambiguity—questioning whether the supernatural threat is real or imagined—it ultimately settles on an ending that feels more derivative than daring.

Despite its shortcomings, the film’s production values shine. Aja’s direction captures the claustrophobia of the cabin and the vast, oppressive wilderness beyond. The child actors deliver commendable performances, particularly Jenkins, whose descent into erratic behavior is both unsettling and tragic.

The Prognosis:

Never Let Go is a competent but uninspired entry into the survival horror genre. Its strongest elements—Berry’s performance, atmospheric tension, and a striking score—are weighed down by a lack of originality and a conclusion that plays it too safe. While not a misfire, it’s unlikely to leave a lasting impression beyond its on-screen talent.

  • Saul Muerte

Cuckoo Soars: A Haunting Symphony of Mystery and Masterful Storytelling

20 Friday Dec 2024

Posted by in Movie review

≈ 1 Comment

Tags

, , , ,

In Cuckoo, director Tilman Singer crafts a hauntingly enigmatic tale that masterfully blurs the boundaries of reality and illusion, delivering one of the most compelling mysteries of recent years. This psychological thriller is a symphony of visual and auditory brilliance, elevated further by Hunter Schafer’s mesmerising performance.

Singer’s direction feels like a deliberate waltz, drawing the audience deeper into a world where every shadow holds a secret and every character carries an unspoken burden. The screenplay unfolds with precision, layering tension and ambiguity that keeps viewers on edge. The story tantalises with just enough breadcrumbs to provoke thought but never enough to reveal its full hand until the climactic crescendo.

At the heart of Cuckoo is Schafer, who delivers a career-defining performance. Her ability to convey vulnerability and strength in equal measure is riveting, and she becomes the emotional anchor in this labyrinthine narrative. Surrounding her are equally strong supporting performances that enhance the film’s enigmatic allure.

The film’s mystery and thriller elements are impeccably balanced. Rather than relying on cheap twists or overt shocks, Cuckoo opts for a slow-burning intensity that crescendos into a finale as satisfying as it is chilling. This is a story that doesn’t just unravel—it spirals, pulling the audience into its increasingly sinister orbit.

Adding to the film’s hypnotic power is the evocative score. The music doesn’t merely accompany the visuals but becomes a character in its own right, guiding the emotional beats and amplifying the pervasive sense of unease. It’s rare for a film’s soundtrack to linger long after the credits roll, but Cuckoo achieves just that.

If there’s a minor critique, it’s that the film’s ambiguity may prove polarising for audiences expecting more concrete resolutions. However, for those willing to immerse themselves in its atmospheric depths, Cuckoo offers a rich tapestry of suspense, beauty, and existential dread.

The Prognosis:

In a genre often defined by predictable tropes, Cuckoo stands out as a bold and hauntingly original vision. Tilman Singer has delivered a cinematic experience that is both visually stunning and narratively engrossing—a must-watch for fans of psychological thrillers and arthouse cinema alike.

  • Saul Muerte

Speak No Evil (2024) – A Tense Revisit Elevated by McAvoy’s Brilliance

19 Thursday Dec 2024

Posted by in Movie review

≈ Leave a comment

Tags

, , , , , ,

Remaking a psychological horror as harrowing and intimate as the Danish-Dutch Speak No Evil (2022) was always going to be a high-wire act. In James Watkins’ 2024 iteration, the unsettling tale of a family’s descent into terror is reimagined with an American lens, bolstered by a stellar cast led by James McAvoy. While Watkins’ effort retains much of the original’s unnerving core, it struggles to fully recapture its predecessor’s raw impact, relying heavily on McAvoy’s gripping performance to elevate an otherwise tried approach.

The film follows Louise and Ben Dalton (Mackenzie Davis and Scoot McNairy) and their young daughter Agnes (Alix West Lefler), who accept an invitation to the Devon farmhouse of British couple Paddy (McAvoy) and Ciara (Aisling Franciosi). The initial warmth soon gives way to tension as boundaries are crossed and sinister truths emerge. The claustrophobic narrative peels away layers of civility to reveal the monstrous beneath, a dynamic James McAvoy embodies with disquieting ease.

McAvoy delivers a masterclass in menace, portraying Paddy as both eerily charming and chillingly unhinged. His moments of quiet intimidation are magnetic, grounding the film’s escalating tension. Aisling Franciosi matches his intensity, offering a restrained but compelling turn as Ciara, while Scoot McNairy and Mackenzie Davis bring believable vulnerability to their roles as a family fraying under duress. Alix West Lefler impresses as Agnes, managing to hold her own amid the seasoned cast.

Watkins’ direction is assured, and the English countryside locations—including the atmospheric Saxon’s Lode Manor House—add to the film’s ominous tone. However, where the original thrived on its quiet horrors, this remake occasionally feels over-engineered. The shift from subtle psychological unease to more overt thriller mechanics sacrifices some of the unique dread that made the 2022 film so haunting.

Thematically, the film retains its exploration of societal politeness and how it can be weaponised. Yet, the American remake’s broader strokes sometimes dilute the poignancy of this critique. The expanded climax and increased violence cater to mainstream tastes, but at the cost of the original’s nuanced, suffocating discomfort.

That said, Speak No Evil (2024) isn’t without merit. Its production design, strong performances, and a gripping third act make it a compelling watch. Watkins’ script revisits the core beats of the original story while adapting it for a wider audience, even if it occasionally falters in maintaining the same level of intensity.

For newcomers, this remake offers an effective introduction to the premise, carried by its cast and bolstered by Watkins’ sharp visuals. For fans of the original, it serves as a reminder of how difficult it is to recreate lightning in a bottle.

The Prognosis:

Though it lacks the devastating emotional resonance of its predecessor, Speak No Evil (2024) is a solid, if unremarkable, reinterpretation—kept afloat by McAvoy’s commanding performance and a polished production.

  • Saul Muerte

Heretic: A Thought-Provoking Clash of Faith and Control

18 Wednesday Dec 2024

Posted by in Movie review

≈ Leave a comment

Tags

, , , , , , , ,

In Heretic, theological debate takes centre stage, crafting a dense and dialogue-heavy narrative that explores themes of faith, gender, and control with a sharp eye. This cerebral approach eschews traditional horror or thriller beats for something far more introspective, building an almost claustrophobic sense of intellectual combat. While this bold stylistic choice is likely to alienate some viewers, it succeeds in setting the film apart as an ambitious and thought-provoking piece.  

Hugh Grant delivers a strong performance, skillfully embodying a man both charming and unsettling in his convictions. However, at times, his characteristic mannerisms seep into the portrayal, unintentionally breaking the fourth wall and pulling the viewer out of the moment. It’s a flaw that mars an otherwise compelling performance, yet one that never completely derails the film.  

Sophie Thatcher, in contrast, fully immerses herself in her role, bringing nuance and emotional weight to her character. Her scenes resonate deeply, anchoring the more abstract elements of the narrative with raw, relatable humanity. Meanwhile, Chloe East provides a spirited performance but finds herself hindered by a script that occasionally sacrifices her character’s integrity for plot convenience. Despite this, she still manages to shine in key moments, displaying the kind of talent that could thrive under better material.  

The Prognosis:

While Heretic is far from perfect, its willingness to tackle complex issues through layered dialogue and thematic depth makes it a rewarding watch for those willing to engage with its intricacies. It’s a film that dares to challenge the audience, even if it stumbles along the way.

  • Saul Muerte

Double Blind: Sleep is Deadly, But the Thrills Are Thin

18 Wednesday Dec 2024

Posted by in Movie review

≈ Leave a comment

Tags

, , , , , , , , , , , ,

Double Blind offers a surprisingly good time for a film rooted in such a simple premise. The high-concept hook—”fall asleep, you die”—injects immediate tension into its tale of survival, but the execution struggles to maintain that initial promise. Director Ian Hunt-Duffy crafts a claustrophobic atmosphere within the confines of the medical facility, effectively trapping both the characters and the audience in an ever-worsening nightmare.

The ensemble cast, led by Millie Brady as the reluctant leader Claire, does their best to elevate the material. Brady delivers a strong performance, showcasing her ability to carry a film despite an often predictable script. Pollyanna McIntosh and Akshay Kumar lend some gravitas to the proceedings, but their talents are underutilised in roles that rarely rise above stock character archetypes. Abby Fitz and Brenock O’Connor add energy to their respective roles but are similarly boxed in by the film’s limited character development.

As the narrative unfolds, the film leans heavily on paranoia and infighting, a well-trodden path for ensemble survival stories. While some moments of tension hit their mark, the lack of depth in character motivations and relationships keeps the drama from fully resonating. The script’s attempt to introduce twists and moral dilemmas feels undercooked, and the pacing suffers as the story meanders between predictable deaths and a finale that lacks impact.

However, Hunt-Duffy deserves credit for making the most of the low budget. The film’s stark visual style and tight editing emphasise the characters’ mounting exhaustion and fear, creating a palpable sense of unease. Despite its flaws, Double Blind is not without its charms. It’s a modest thriller that entertains in bursts but fails to leave a lasting impression.

For fans of high-stakes survival horror, Double Blind offers a passable experience, but its lack of originality and thin characterisation keep it from standing out in an already crowded genre.

  • Saul Muerte

Blumhouse’s Afraid: A Cautionary Tale of Career and Genre Stagnation

14 Saturday Dec 2024

Posted by in Movie review

≈ Leave a comment

Tags

, , , , , , , , , , ,

Blumhouse Productions made its name with innovative horror films that struck a chord with audiences, often redefining the genre through clever storytelling and sharp commentary. Unfortunately, Afraid is a painful reminder of how far they’ve drifted from their golden years. Adding to the disappointment is the involvement of Chris Weitz, whose early career suggested he was destined for much greater things than this hollow misfire.

Weitz, once celebrated for his deft handling of comedies like American Pie and heartfelt adaptations like About a Boy, and even the ambitious yet divisive The Golden Compass, seems to have lost his way entirely. His association with Afraid begs the question: what happened? The film bears none of the charm, depth, or even technical polish of his earlier work. Instead, it’s a lifeless slog that fails to inspire fear, intrigue, or any emotional response beyond exasperation.

The premise—centered on the growing unease around artificial intelligence—has potential but is squandered on cheap thrills and half-baked ideas. Rather than offering a meaningful exploration of our AI-driven anxieties, Afraid merely skims the surface. Its portrayal of a bleak, AI-dominated future feels both uninspired and needlessly nihilistic. The film provides no real solutions, no glimmers of hope, and, frankly, no compelling reason for its existence.

Blumhouse’s hallmark has always been its ability to make the most of modest budgets, yet Afraid looks and feels like a bargain-bin effort. The production design lacks creativity, the dialogue is wooden, and the pacing is agonisingly slow. In a world where AI-themed horror can spark fascinating debates, this film opts for cheap scares and empty platitudes, leaving viewers frustrated and disengaged.

If the goal was to provoke thought or generate terror, Afraid misses on both counts. It’s a film that feels as lifeless as the machines it warns against, offering nothing to its audience and even less to the horror genre.

The Prognosis:

Blumhouse once showed promise as a bastion of modern horror, but with Afraid, they seem to be running on fumes. Combined with Weitz’s fall from grace, this film is a tragic testament to squandered potential. Hope may not exist in the world of Afraid, and after watching it, you’ll be hard-pressed to find any for its creators, either.

  • Saul Muerte

The Crow Remake: A Hollow Imitation That Fails to Soar

29 Friday Nov 2024

Posted by in Movie review

≈ 1 Comment

Tags

, , , , , , ,

The original The Crow (1994) was a lightning-in-a-bottle masterpiece, combining poetic tragedy, raw emotionality, and an iconic aesthetic that cemented its place as a cult classic. In stark contrast, the 2024 remake feels like a soulless shadow, lacking any semblance of the mythos or gravitas that made its predecessor soar. Under Rupert Sanders’ direction, the film struggles to find its footing, opting for a bloated backstory and needless embellishments that ultimately dilute its essence.

At the heart of the issue is the misguided focus on Eric Draven (Bill Skarsgård) and Shelly’s (FKA Twigs) relationship. Rather than allowing their love to haunt the narrative as a poignant undercurrent, the remake drowns the story in flashbacks and overwrought melodrama. This obsession with fleshing out their past not only drags the pacing but also misses the point of the original’s mythic simplicity. In doing so, the remake becomes a pale, lifeless interpretation—an empty vessel devoid of the soul and pathos that defined its core.

The term for something that lacks mythos is anemic, and that word encapsulates Skarsgård’s portrayal of Eric Draven. While the actor has delivered magnetic performances elsewhere (It, Barbarian), here he’s saddled with a character stripped of depth or nuance. His Eric is all façade—a slick veneer of gothic aesthetics with nothing substantive beneath. Without material that allows him to explore Eric’s torment, grief, and vengeance, Skarsgård’s performance is reduced to a hollow pantomime of what Brandon Lee immortalised.

Visually, the film occasionally nods to the original’s atmospheric brilliance but never matches its haunting beauty. The action sequences feel stale, the villains cartoonish, and the film’s tonal identity shifts awkwardly between brooding melodrama and half-baked action thriller. By attempting to expand the lore and tinker with the narrative, Sanders inadvertently strips The Crow of its primal, mythic power, leaving an insipid rehash of what was once a deeply moving story of love, loss, and redemption.

The Prognosis:

This Crow doesn’t soar—it flaps clumsily and crashes, a sad reminder that not all stories demand a retelling.

  • Saul Muerte

Your Monster – A Tale of Monsters Within and Without

24 Sunday Nov 2024

Posted by in Movie review

≈ Leave a comment

Tags

, , , , , , ,

Melissa Barrera’s undeniable star power is the cornerstone of Your Monster, a feature-length adaptation of Caroline Lindy’s acclaimed short film. For fans of Barrera (Scream, In the Heights), her magnetic screen presence alone may be reason enough to watch, as she brings depth and relatability to a tale rooted in personal struggle and societal neglect. As Lindy’s script expands from its original short-film premise, it wrestles with maintaining focus, resulting in uneven pacing, but Barrera keeps the emotional center intact, inviting viewers into the stormy psyche of her character.

Your Monster reimagines the archetypal Beauty and the Beast tale, twisting its romantic elements into a metaphor for mental health—a beast that both protects and consumes its host. For this reviewer, the premise evokes nostalgia for the 1980s TV series starring Ron Perlman and Linda Hamilton, though Lindy’s darker approach is very much a product of modern anxieties. The film’s strength lies in its exploration of neglected mental health, illustrating how inner demons, if left unaddressed, can fester into something monstrous. However, the film’s genre-blending between psychological drama and fantastical horror doesn’t always land, leaving the metaphor sometimes muddled. Still, with Barrera’s compelling performance and moments of heartfelt reflection, Your Monster offers a thoughtful, if flawed, glimpse into the monsters we create—and the possibility of taming them.

Visually, the film delivers an atmospheric experience that balances between eerie intimacy and fantastical surrealism. The titular monster’s design—a blend of shadow and human-like features—is both unnerving and strangely sympathetic, embodying the duality of its role in the protagonist’s life. Caroline Lindy’s direction demonstrates a strong grasp of mood and symbolism, though some of the film’s extended sequences veer into indulgence, stretching its central conceit thin.

The Prognosis:

Despite its flaws, Your Monster is a bold, heartfelt exploration of inner turmoil and resilience, buoyed by Barrera’s standout performance and a narrative that dares to wade into murky emotional depths. It’s imperfect but worth a watch for those seeking a horror story with a poignant emotional core.

  • Saul Muerte

Your Monster will be screening in Australian cinemas nationwide from 28th Nov.