Category Archives: Movie review

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.

New Life (2025): Strong Performances Can’t Save a Meandering Plot

24 Friday Jan 2025

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John Rosman’s New Life presents itself as a high-stakes thriller laced with mystery and apocalypse. With Sonya Walger and Hayley Erin anchoring the film, their commendable performances provide much-needed gravity to a narrative that struggles to find its footing. Unfortunately, even their efforts can’t fully redeem a story that drags its way through prolonged build-up before stumbling into its climactic moments.

The plot follows a mysterious woman on the run and a resourceful fixer tasked with tracking her down. Their entwined fates drive the film’s central tension, but the execution is hindered by pacing issues and an over-reliance on cryptic storytelling. While the promise of apocalyptic stakes looms in the background, the narrative spends too much time spinning its wheels, leaving viewers yearning for something—anything—to justify the drawn-out setup.

When the film finally pivots to a zombie/plague-like outbreak, it injects a much-needed sense of urgency. The chaotic and visceral energy in these moments hints at what the film could have been had it embraced this intensity earlier. Unfortunately, by the time the action kicks in, the payoff feels like too little, too late, leaving the audience more exhausted than exhilarated.

Despite the lacklustre pacing, Sonya Walger and Hayley Erin stand out as the film’s saving grace. Walger brings a steely determination to her role, while Erin portrays vulnerability and resilience with equal skill. Their dynamic holds the viewer’s attention even as the story falters, offering glimpses of what could have been a more compelling character-driven thriller.

Rosman’s direction showcases moments of visual flair, particularly in the film’s apocalyptic sequences, but these flashes of brilliance are undermined by a script that stretches thin. The potential for a gripping, high-stakes narrative is evident but remains unrealised, bogged down by a lack of momentum and clarity.

New Life ultimately feels like a missed opportunity—a story with intriguing elements and strong performances that’s let down by uneven execution. While the film’s latter half provides some excitement, it can’t quite overcome the sluggish pacing and underdeveloped narrative that precedes it.

If you’re a fan of slow-burn thrillers and compelling lead performances, New Life might hold some appeal, but for most, it’s likely to be a frustrating watch.

  • Saul Muerte

New Life will be streaming in Shudder from Monday 27th Jan.

The Calendar Killer (2025) – A Tense Thriller That Doesn’t Quite Stick the Landing

17 Friday Jan 2025

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Adolfo J. Kolmerer’s The Calendar Killer is a thriller that weaves a gripping premise with social commentary, even if it doesn’t entirely escape the shadow of predictable tropes. Based on Sebastian Fitzek’s best-selling German novel, the film offers a dark, high-stakes story about impossible choices and the fight for survival.

The narrative unfolds through two intertwined perspectives: Klara (Luise Heyer), a woman forced to choose between killing her husband or losing her own life, and Jules (Sabin Tambrea), a night shift operator at a telephone safety helpline who becomes her last hope. This dual structure keeps the tension alive, as the film oscillates between Klara’s escalating danger and Jules’ frantic attempts to save her. The setup is undeniably engaging, and Kolmerer’s direction ensures a moody atmosphere that underscores the film’s darker themes.

What sets The Calendar Killer apart is its unflinching exploration of domestic violence, grounding the thriller in a stark reality that adds emotional weight. Klara’s struggle is as much about her immediate survival as it is about escaping the long shadow of abuse, and Heyer delivers a nuanced, harrowing performance that anchors the film.

However, the film struggles under the weight of familiar genre conventions. The pacing falters in the second act, as twists that should shock instead feel telegraphed. While the central premise is compelling, some of the character decisions and plot developments lean too heavily on well-worn thriller clichés, diminishing the impact of the story’s more innovative elements.

The Prognosis:

Despite these shortcomings, The Calendar Killer remains an entertaining watch, thanks to its gripping premise, solid performances, and atmospheric tension. It may not redefine the genre, but it offers a chilling reminder of the real-world horrors that inspired it. For fans of psychological thrillers, it’s a decent entry, albeit one that leaves room for improvement.

  • Saul Muerte

The Calendar Killer is currently available on Amazon Prime.

A Haunting Symphony of Shadows: Robert Eggers’ Nosferatu

05 Sunday Jan 2025

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Robert Eggers’ long-anticipated Nosferatu proves to be another striking entry in the director’s growing repertoire. While it may not reach the towering heights of his earlier works like The Lighthouse or The Witch, Eggers’ fourth feature-length film is a visually intoxicating journey that honours its 1922 namesake while breathing new, sinister life into the legend.

From the moment the first frame flickers on screen, it’s evident that Eggers holds the original Nosferatu close to his heart. The film is awash with nods to F.W. Murnau’s silent classic, both in its reverence for German Expressionism and its stark, almost otherworldly aesthetic. Shadows and light clash in every frame, creating a chiaroscuro effect that feels like a love letter to the era of silent cinema. The jagged, angular sets—almost living entities in their starkness—slice through the film, their ominous presence as much a character as any in the story.

The performances elevate Nosferatu beyond mere homage. Willem Dafoe, no stranger to transforming himself for a role, brings a haunted gravitas to his character, Prof. Albin Eberhart Von Franz, while Lily-Rose Depp infuses her performance as Ellen Hutter with both fragility and strength, commanding the screen with grace. Bill Skarsgård, stepping into the titular role, once again demonstrates his ability to embody grotesque creatures with a chilling ease. His portrayal of the vampiric Count Orlok is unsettling and mesmerising, a fusion of menace and melancholy that lingers with you as you leave the cinema.

Sound design plays a pivotal role in Eggers’ vision. Breath—both its presence and absence—becomes a motif that underscores the film’s themes. The rasping, laboured exhalations of plague-stricken Londoners weave into the score, amplifying the suffocating dread that permeates the story. This auditory detail enriches the narrative, turning something as mundane as breathing into a symbol of survival and decay.

However, the film is not without its flaws. The storyline, while serviceable, lacks the depth and complexity of Eggers’ previous outings. This thinness in the plot occasionally exposes the runtime, making certain stretches feel elongated. Yet, this simplicity could be seen as a strength, allowing Eggers to delve into the essence of the tale rather than overburden it with unnecessary intricacies.

The Prognosis:

Nosferatu is a beautifully crafted piece of cinema, a masterclass in visual storytelling that immerses viewers in its eerie, dreamlike world. Though it may not soar as high as Eggers’ earlier works, it is undeniably a film made with passion and precision. For lovers of the original and newcomers alike, it offers a rich, sensory experience that solidifies Robert Eggers’ status as one of modern cinema’s most distinctive voices.

  • Saul Muerte

Sting (2024): A Tangled Web of Potential, Stifled by Confinement

24 Tuesday Dec 2024

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Kiah Roache-Turner’s Sting teeters between promise and frustration, delivering a giant spider flick that struggles to break free of its own constraints. The premise—an apartment block under siege by a grotesque arachnid menace—should have been a thrilling descent into chaos. Instead, it becomes a mostly static affair that squanders the potential for horror on a grander scale.

The film’s claustrophobic setting, while initially effective in creating tension, ultimately becomes its Achilles’ heel. Roache-Turner’s decision to restrict the action to a single apartment block feels like an artificial barrier, limiting both narrative scope and the monstrous terror promised by its premise. The titular spider, a grotesque and visually striking creation, rarely gets the opportunity to fully unleash its horrifying potential. What could have been a citywide nightmare is confined to a smaller, less engaging canvas.

Performances from the cast are serviceable but fail to elevate the thin material. The human drama, meant to serve as a counterbalance to the creature feature chaos, feels underdeveloped, making it hard to invest in the characters’ survival. Even the moments of visceral horror and grotesque effects—which Roache-Turner has previously executed with glee in films like Wyrmwood—feel muted, as though constrained by the film’s own premise.

There are flashes of creativity, particularly in the creature design and some tightly constructed suspense sequences, but these are too few and far between. Sting is a film caught in its own web, unable to deliver the giant spider carnage fans might have hoped for. It’s a disappointment from a director who has previously shown a knack for blending horror with frenetic energy.

For arachnid horror enthusiasts, Sting may still hold some appeal, but the film’s inability to break free of its own limitations makes it feel more like a missed opportunity than a triumphant monster movie.

  • Saul Muerte

Street Trash (2024): A Grimy, Gory, and Visually Disturbing Return to the Cult Classic

23 Monday Dec 2024

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Ryan Kruger’s Street Trash boldly picks up the grotesque mantle of the 1987 original, delivering a sequel that is equal parts homage and evolution. This grimy, grimacing venture into the underbelly of society thrusts viewers into a world of chaotic survival, vivid visuals, and unapologetic depravity.

A Grimy Glimpse of Society’s Margins

Set against a backdrop of urban decay, the film plunges into the lives of the downtrodden as they face not just societal neglect but a new wave of bodily horrors. Kruger maintains the anarchic spirit of the original while updating its themes with a sharper edge. Beneath the layers of viscera and outrageous visuals lies a commentary on the cyclical struggles of poverty, addiction, and survival—a grim reflection of a world that often ignores its most vulnerable.

The story, while secondary to the spectacle, acts as a loose framework for the carnage, following a ragtag group of outcasts contending with an insidious threat that consumes them from within. Much like its predecessor, Street Trash revels in its over-the-top nature, embracing absurdity and shock value as core tenets of its narrative.

A Grotesque Visual Feast

Kruger’s directorial flair is undeniable, with a relentless onslaught of visually arresting sequences. The practical effects are a glorious throwback to the heyday of 1980s body horror, drenched in fluorescent gore and surreal transformations. The cinematography veers between claustrophobic and chaotic, perfectly capturing the world’s filth and desperation.

However, the film’s relentless aesthetic, while impressive, often overshadows its characters and narrative depth. The grotesque imagery can feel gratuitous at times, leaving little room for the emotional resonance that might have elevated the film beyond its shock-factor roots.

A Tribute That Stumbles on Its Own Excess

As a sequel, Street Trash lovingly pays tribute to the down-and-dirty chaos of the original, amplifying its grime and gore for a modern audience. But in doing so, it occasionally loses the balance that made the 1987 cult classic memorable. While Kruger captures the anarchic spirit, the film’s pacing and tonal inconsistency detract from its overall impact, making it feel like an extended spectacle rather than a cohesive story.

The Prognosis:

For fans of the original, Street Trash (2023) is a welcome return to the absurd, oozing with nostalgia and creativity. It’s a visually disturbing treat that revels in its excesses, delivering everything you’d expect from a sequel to one of the most outrageous films of the 1980s.

Yet, its dedication to pushing the boundaries of grotesque spectacle leaves little room for nuance or emotional depth. While it’s a solid continuation of the cult classic’s legacy, it struggles to transcend its status as a niche curiosity.

Kruger’s Street Trash is messy, wild, and unapologetically outrageous—a glorious descent into cinematic filth that will delight fans of the original and shock newcomers in equal measure. It may not redefine the genre, but it certainly leaves an impression, for better or worse.

  • Saul Muerte

Street Trash will be streaming on Screambox from Dec 27th.

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

23 Monday Dec 2024

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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

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“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