Category Archives: Movie review

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

21 Saturday Dec 2024

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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

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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

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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

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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

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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

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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

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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

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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.

Rita (2024) – A Missed Opportunity in Dark Fantasy Storytelling

22 Friday Nov 2024

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Jayro Bustamante’s Rita is a visually ambitious yet emotionally shallow re-imagination of the horrifying 2017 Guatemala orphanage fire. While its foundation—a melding of real-world tragedy with a dark fantasy lens—seems ripe for compelling storytelling, Rita stumbles in its execution, failing to deliver on its potential. The film presents a 13-year-old girl’s harrowing escape from an abusive father, only to find herself in a dystopian state-run institution. Here, fantastical beings and super-powered girls take center stage, attempting to rebel against the malevolent forces controlling their world.

The film’s premise is undeniably intriguing, and Bustamante’s attempt to incorporate fantasy elements, like Rita joining groups called Angels, Wolves, and Rainbows, is conceptually interesting. However, the narrative falters under the weight of sluggish pacing and dialogue-heavy sequences that neither propel the plot nor deepen the characters. Giuliana Santa Cruz gives a commendable performance as Rita, but even her earnest portrayal cannot breathe life into a script that feels meandering and disjointed. While one might hope for the emotional resonance and symbolic depth of a film like Guillermo del Toro’s Pan’s Labyrinth, Rita instead comes across as lacklustre and uninspired.

The film’s biggest misstep lies in its failure to honour the gravity of its source material. The 2017 tragedy is a stark and deeply troubling piece of recent history, yet Rita struggles to balance its fantastical re-imagining with the weight of the real events. The result is a narrative that feels hollow and disconnected from the emotional core it seeks to explore.

The Prognosis:

Despite its commendable ambition and some striking visual moments, Rita ultimately lacks the substance and cohesion to leave a lasting impact. It’s a disappointing venture that falls far short of its promising premise.

  • Saul Muerte

Rita is streaming on Shudder from Fri 22nd November

Smile 2: A Relentless Cycle of Horror with Few New Twists

11 Monday Nov 2024

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So here we are reviewing another sequel, and how long will we go this time before referring to the SOH list of what makes a good sequel?
Well for a start, Smile 2 does the right thing by starting soon after the last film, which (if you remember) ended with the lead character’s ex-boyfriend/cop friend Joel (played by Kyle Gallner) watching her self-immolate.
So, by the rules established from the first movie, that means the Smile Curse has been passed onto him.
And the opening of this new instalment deals with that, as we discover Joel at the end of his 6-day run (the length of the curse before the Smile Demon has to kill its host and choose another victim).
Having been put through the wringer that this creature puts you through, Joel’s course of action is very predictable in a: if-you’re-gonna-go-down-take- somebody-with-you kind of way.
From here we discover this film’s protagonist, Skye Riley (played by Charlie’s Angels / Aladdin’s Naomi Scott). A mega popstar who’s half Lady Gaga, half Britney Spears (at the time she was conceived by writer / director Parker Finn, that’s who he had to go off as inspiration, although today the only parallel you immediately think of is Tay Tay).
With the demon latched onto her, what ensues is 2 hours of the same sort of relentless trauma the original film’s lead – Rose Cotter – suffered through.
And that’s where we hit the crux of it all. The film’s spirit (as set by its predecessor) is to put the lead through relentless hell. Till she loses. And then the hell passes on to another for the next film.
It’s a cliché production line approach that one expects from this sequel, but hopes will have the courage to break. Or at least warp.

Spoiler alert, it doesn’t. But it does end with a twist that is both daring and limiting in terms of where it leaves off for Smile 3.
But that’s for that review. This is Smile 2, and essentially what this film does well – very well in fact – is exactly what it did the first-time round (see above re: hell).
There’s a nice old skool rhythm to Finn’s directing. Whether it be his audacious use of the pan function on his tripod head, or pretentious use of wide-angle lenses, or the gratuitous use of 70’s style GFX for the opening titles (all of which – as cinematic storytelling devices go – seem to be making a bit of
a comeback lately. Especially in other medium to small budget horrors like Barbarian and The Black Phone etc).
But does all this make Finn a leader or a follower?
All we know is that the afore mentioned thing this movie does well is also its prison.
For this Demon has an invincibility to it that makes it all so… pointless. There is nothing anyone can try to defeat it. And even then, they only start trying AFTER they chew up most of the movie runtime wondering if they are going crazy, believing they are not going crazy, and figuring out what is making them go crazy.
And even then, once they try stuff, there’s nothing this creature can’t defeat with a flick of the lazy writer’s wand…. Ie: “It was all in your head”.
For anything approaching a plan or a way to combat it is basically an illusion conjured by the demon itself to give you false hope, so why bother? Even the method that Scott’s Riley tries to beat the creature this time round feels eerily similar to the first film. So straight away you know it’s not gonna work.
And spoiler alert, when it doesn’t, you do feel decidedly annoyed. Because, as with the golden rule of writing (where the protagonist has to make the hard choice) you, as a storyteller HAVE to give your protagonist (and therefore your audience) hope. Otherwise there are no stakes, and instead what you are watching is porn.
Which is fine. Who doesn’t love porn? But porn is not great story-telling.

In terms of performance – Scott does a good job of portraying a mega star under the sort of strain unique to individuals who are also a living breathing multimillion-dollar brand.
And in her case, she is also combating a personal trauma in the form of a tragedy that takes place before the film (when do lead characters NOT have a harrowing event defining their backstories these days?)

The Prognosis:

Smile 2 has earned a lot at the box office and is a critical hit because admittedly it is a very good horror film. It’s just not a good film.
Oh, and also, Jack Nicholson’s son has a small part in it. Smile if you can pick him.

  • Antony Yee