Category Archives: Movie review

Solvent (2024): A Twisted Descent into Body Horror and Paranoia

23 Monday Sep 2024

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Johannes Grenzfurthner’s Solvent is a visceral dive into both the found footage and body horror sub-genres, subverting expectations at every turn. The film introduces us to a team of experts searching for Nazi documents in an isolated Austrian farmhouse, only to uncover a far more sinister secret hidden in the shadows of history. As the team leader becomes obsessed with revealing the truth, his sanity slips away, revealing the true horror that lies beneath—the corrosive force of obsession itself.

What sets Solvent apart from typical found footage films is its refusal to adhere to the genre’s usual tropes. While many found footage films struggle to balance realism with narrative tension, Solvent blends body horror and the obsessive drive for truth, immersing the audience in a descent into madness that feels both surreal and grotesque. Grenzfurthner’s approach to this format is deliberate, calculated, and refreshingly inventive. The faux-documentary style doesn’t just feel like a device to capture jump scares but becomes an integral part of the narrative’s tension, one that slowly unravels with each disturbing discovery.

The film’s brilliance lies in how it explores the toll that the pursuit of truth can take on the human spirit. As the leader of the investigation digs deeper into the farmhouse’s disturbing past, the very act of seeking knowledge becomes a self-destructive obsession. The further he delves, the more he sacrifices his humanity, willingly eroding his moral compass in exchange for answers. This theme is amplified by the body horror elements, where the human form begins to mirror the mental and emotional decay taking place within. It’s a journey through fluid debauchery—one that seeps into every pore of the film, leaving the viewer unsettled and questioning how much one should risk in pursuit of the unknown.

Admittedly, found footage has never been my favorite genre. However, Solvent shifts the direction enough to make it a harrowing and engaging experience. The film hooks you from the very beginning, pulling you deep into its underworld of depravity and insanity. Each moment feels like a gamble with pure evil, and the tension builds to an unbearable crescendo, leaving you wondering whether anyone can truly negotiate with forces so dark and extreme.

Solvent isn’t just a film about unearthing historical horrors; it’s a philosophical exploration of the lengths people will go to when consumed by obsession. Grenzfurthner takes the familiar tropes of body horror and found footage, blends them with a slow-burning narrative, and crafts something perversely unique. It’s a dizzying descent into madness, but for those willing to follow it down the rabbit hole, it’s a ride that will infect you long after the credits roll.

  • Saul Muerte

Solvent is screening as part of the Dark Nights Film Fest, Sat 13 Oct at 5pm (Ritz Cinema – Randwick)

1978 (2024) – A Fulci-Inspired Descent into Political Terror and Macabre Madness

22 Sunday Sep 2024

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In 1978, directors Luciano and Nicolás Onetti conjure a nightmarish world that echoes the horrors of Lucio Fulci’s apocalyptic cinema while weaving in the real-life political unrest of Argentina’s “Dirty War.” Set against the backdrop of the 1978 Soccer World Cup, a time when the world’s eyes were on Argentina, this film dives into the dark, gruesome underbelly of a country gripped by a military dictatorship. It’s a tale not just of political torture and brutality but of humanity at its most depraved, where the lines between man and monster blur until they disappear entirely.

The film opens with an almost deceptive sense of calm—a card game, where tension simmers under the surface but never quite boils over. The dialogue, tinged with dark humor, feels Tarantinoesque in its banter, a momentary reprieve from the sinister atmosphere lurking just beneath. But the Onetti brothers pull the rug out from under the audience, shifting from this relatively lighthearted scene to a brutally torturous one in a matter of moments. It’s in this jarring transition that 1978 truly begins, announcing its arrival as a grim, unrelenting portrayal of the horrors that can be unleashed under political regimes.

Drawing heavy influence from the work of Fulci, the film exudes a Euro-horror atmosphere that’s thick with dread, claustrophobia, and macabre surrealism. The Onetti brothers have long been known for their no-holds-barred approach to horror, and here they channel Fulci’s signature mix of grotesquery and existential despair. Like in The Beyond or City of the Living Dead, there’s a pervasive sense that the characters are trapped in a world governed by forces far beyond their control—forces that are both human and inhuman. The military dictatorship, with its secret detention centers and brutal tactics, provides the terrifying human component, while an unseen, darker entity lurks in the shadows, adding a supernatural layer to the unfolding horror.

The real-life political context of the “Dirty War” amplifies the terror. During this period in Argentina, thousands of suspected political dissidents were “disappeared” by the government—kidnapped, tortured, and murdered in secret. 1978 uses this historical backdrop as the foundation for its narrative, grounding its nightmarish scenes of violence in a reality that is equally horrific. The military’s brutal interrogations in the film mirror those real-life atrocities, making the viewer question whether the greatest evil on display is the supernatural one or the human one. The Onetti brothers force the audience to grapple with this question throughout the film, testing their allegiances and perceptions of good and evil.

As the narrative unfolds, 1978 slowly but deliberately shifts its focus from political unrest to something far more cosmic and horrific. The torture scenes—vivid, grotesque, and unflinchingly brutal—serve as just one layer of the film’s descent into madness. Beneath the physical violence lies a deeper, more metaphysical horror: the idea that in the face of such atrocities, humanity itself is stripped away, leaving only madness, chaos, and, perhaps, something darker and more sinister in its wake. The Onetti brothers masterfully build this tension, allowing the macabre nature of the film to slowly spiral out of control as the characters find themselves at the mercy of forces they cannot comprehend or escape.

The film also tests the viewer’s allegiances at every turn. What begins as a narrative about victims and captors becomes much more complex as each character’s true nature is revealed. The political activists, initially portrayed as righteous in their resistance, harbor dark secrets of their own. The torturers, while sadistic, seem to be following orders from something far greater than themselves. The shifting dynamics between captors and captives keep the audience in a constant state of uncertainty, unsure of who to root for or fear. The film’s slow, deliberate pacing allows for this moral ambiguity to simmer, building to a crescendo where no one is truly innocent, and everyone is complicit in the madness.

In its final act, 1978 fully embraces its Fulci influences, descending into a Grand Guignol spectacle of blood and terror. The grotesque visuals are heightened by the film’s relentless atmosphere of dread, making for a climax that is as disturbing as it is mesmerising. By the time the credits roll, the audience is left questioning not just the nature of the horror they’ve witnessed but the nature of humanity itself.

The Prognosis:

While 1978 may not be to everyone’s taste—its methodical pacing, relentless brutality, and grotesque atmosphere can be overwhelming—it’s impossible to deny the sheer force of its vision. The Onetti brothers have conjured a film that plunges into the depths of human depravity, intertwining political and supernatural horrors in a way that is as disturbing as it is captivating. For those prepared to face the darkness, 1978 offers a haunting and visceral descent into a hell that feels all too real—a place where the lines between humanity and monstrosity blur, and every road inevitably leads to a devastating conclusion.

  • Saul Muerte

1978 is screening as part of the Dark Nights Film Fest, Sat 13 Oct at 3pm (Ritz Cinema – Randwick)

Sayara (2024) – A Savage, Viscera-Drenched Odyssey of Vengeance and Retribution

21 Saturday Sep 2024

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Sayara, the latest offering from Turkish director Can Evrenol, departs from the supernatural horrors of his previous works (Baskin, Housewife) and ventures into a brutal, grounded tale of revenge. With Sayara, Evrenol has crafted an ultraviolent, nihilistic thriller that recalls the raw, unflinching energy of Nicolas Winding Refn’s Pusher trilogy. The film is a relentless journey into the darker corners of humanity, where justice, once forsaken by law, is taken into savage hands.

At the heart of this blood-soaked tale is the protagonist, Saýara (played with terrifying intensity by Duygu Kocabiyik), whose quiet, janitorial existence is upended by the horrific murder of her sister at the hands of her gym’s corrupt, politically connected owner. As the system fails to bring justice, Saýara finds herself not just seeking vengeance but embodying it—using her after-hours training and the skills passed down by her Soviet Sambo champion father to execute a grim, calculated form of retribution.

The film is anchored by the core theme of savage revenge, and Evrenol wastes no time illustrating the violence and systemic exploitation of women and marginalised cultures. The character of Saýara, subjected to the constant oppression of her environment, becomes a symbolic force for those left voiceless. The gym owner and his cronies, who initially represent untouchable power, soon find themselves facing a brutal reckoning. Saýara is not just fighting back—she’s tearing down the structures that have upheld their dominance.

One of the film’s standout features is the use of sound, particularly the deep, resonant bass that seems to vibrate through the film like a heartbeat. Evrenol masterfully uses sound to dial up tension, drawing the viewer deeper into the depravity and violence that envelops the characters. The slow escalation of this auditory experience mirrors the pacing of the narrative itself—gradually building to a climax that is both gruesome and inevitable. As Saýara’s quest for revenge unfolds, the audience is pulled into her world, where every action reverberates with weight and consequence.

The film is unapologetically violent, but there’s a purpose behind every blow, every drop of blood. Evrenol doesn’t shy away from depicting the true cost of vengeance, and Sayara becomes a brutal commentary on the destruction wrought by unchecked power. The violence is not just physical but psychological, each fight stripping away more of Saýara’s humanity, leaving behind only a raw, visceral need for retribution. The path she walks is one from which there is no return, leading her straight into the fiery depths of her own personal hell. Once she steps onto this road, all exits disappear, leaving her with only one inevitable destination: a violent confrontation where there are no survivors—only victors and the damned.

The final showdown is a slow, excruciating crescendo, where Saýara confronts her enemies with the full force of her rage and skill. The choreography of these scenes is vicious, each movement designed for maximum impact, both physically and emotionally. The face-off feels like the culmination of not just Saýara’s journey, but the audience’s as well, watching as she becomes the embodiment of cold, calculated vengeance. The film’s climax is as gruesome as it is cathartic, a visceral explosion of blood and fury that leaves the viewer stunned in its wake.

Sayara is not for the faint-hearted, but for those who can stomach its brutal nature, it offers a haunting, powerful experience. Duygu Kocabiyik delivers a standout performance, turning Saýara into one of the most compelling anti-heroines in recent memory. With the substance of Evrenol’s past work absent, he instead crafts a stark, unrelenting atmosphere, with themes of retribution, justice, and the inescapable hell that vengeance brings.

The Prognosis:

In Sayara, there is no sanctuary—only fire, blood, and the cold, unflinching march toward retribution. This is a revenge film that takes no prisoners, delivering a punch that lingers long after the credits roll.

  • Saul Muerte

Sayara is screening as part of the Dark Nights Film Festival, Sat 12 Oct at 9pm (Ritz Cinema – Randwick)

The Substance (2024) – Coralie Fargeat’s Visceral Exploration of Beauty, Decay, and Rebirth

17 Tuesday Sep 2024

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Coralie Fargeat’s sophomore feature, The Substance, is an audacious, mesmerizing, and deeply disturbing exploration of beauty and societal pressure that amplifies the raw tension seen in her previous work, Revenge. If Revenge was a hyperbolic and frenetic tour de force, then The Substance takes that fanaticism to even greater extremes. Fargeat once again proves she is unafraid to push boundaries, crafting a film that both shocks and seduces in equal measure.

At the heart of the story is fading film star Elisabeth Sparkle (Demi Moore), who embarks on a desperate and grotesque journey to recapture her youth and beauty. It’s a story that channels Dr. Jekyll and Mr. Hyde and The Picture of Dorian Gray, but Fargeat gives it a visceral, modern twist. Sparkle’s desire to regain her status sees her quite literally shedding her skin, only to reveal the youthful, more vibrant Sue (Margaret Qualley) beneath. This metaphor of transformation is one that Fargeat mines deeply, blending psychological horror with body horror to unnerving effect.

The film’s thematic exploration of the pressures placed on women in society is bold and cutting. In a world where perfection is both demanded and worshipped, The Substance critiques the lengths to which women are pushed in order to meet unattainable standards. Elisabeth Sparkle’s journey feels like a distorted mirror to Demi Moore’s own life, a meta-commentary on the demands of Hollywood and media scrutiny on aging actresses. Moore delivers what is arguably her finest performance to date, embracing the vulnerability, desperation, and eventual monstrosity of her character. Her portrayal is one that feels intensely personal, capturing the very real horror of societal rejection and the obsessive pursuit of eternal beauty.

Fargeat establishes clear rules within the twisted reality of The Substance, only to heighten the stakes with each passing scene. The film’s world is meticulously constructed, and as Elisabeth Sparkle begins her physical transformation, the boundaries between her public persona and inner turmoil dissolve. The journey is as much psychological as it is physical, with every transition becoming more grotesque and extreme.

The body horror effects are stunningly grotesque, matching the film’s over-sensualization with moments of visceral revulsion. Fargeat is unflinching in her depiction of bodily transformation, and while this may not appeal to all audiences, it is undeniably impactful. There’s a near-obsessive focus on the body—its beauty, decay, and renewal—that drives the film’s horrific imagery. These moments, combined with the film’s sensual tone, are deeply unsettling and visually striking.

The Substance also stands as a masterclass in atmosphere. Fargeat laces every frame with a sense of heightened tension and seductive horror, much like in Revenge, but here she pushes the boundaries even further. The use of lighting, sound, and color accentuates the hyperreal world in which Elisabeth Sparkle exists, adding to the film’s surreal tone. There’s an elegance to the horror, a controlled chaos that feels intentional and artfully executed.

The Prognosis:

Though The Substance is not for everyone, its bold vision, daring execution, and Demi Moore’s tour-de-force performance make it a near-perfect film for those willing to immerse themselves in Fargeat’s nightmarish world. It’s a film you don’t dare replicate, as it masterfully melds beauty with horror, elegance with grotesquery. Fargeat’s ability to combine all these elements results in a piece of cinema that lingers, challenging its audience with every frame.

  • Saul Muerte

The Substance is screening at cinemas nationwide from Thursday 19th Sept.

Trap (2024) – M. Night Shyamalan’s Latest Caught in Its Own Web of Predictability and Mystery

15 Sunday Sep 2024

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M. Night Shyamalan’s Trap is a film that finds itself, fittingly, ensnared by the very traps the director has become known for over his career. Oscillating between moments of genuine intrigue and stretches of predictable plotting, Trap attempts to weave in suspense and tension, but too often falls victim to Shyamalan’s familiar trappings. While the film offers its share of tension, it struggles to surprise, leaning too heavily on well-worn formulas that dilute its impact.

The film draws noticeable inspiration from Hitchcockian thrillers, particularly Shadow of a Doubt. Shyamalan borrows elements of psychological cat-and-mouse games and suspicion, aiming to inject Trap with a similar slow-burn dread. The Hitchcock influence is unmistakable in the way the story unfolds, with characters hiding dark secrets and a persistent air of unease hovering over the narrative. However, Shyamalan’s execution feels more obligatory than original, making Trap more a homage than a fresh take on the genre.

Josh Hartnett is the film’s clear standout, offering a performance that feels fully in control of the tension at play. As the character trapped in a high-stakes game, Hartnett channels both calm and calculated manipulation alongside a simmering undercurrent of insecurity. His performance brings to mind Hitchcock’s most compelling antiheroes, balancing charm with danger in a way that keeps the audience guessing. Hartnett’s ability to toggle between these emotions gives the film a much-needed anchor, especially as the plot begins to lean too heavily into predictable twists.

Where Trap falters is in its attempt to maintain the fine balance between mystery and Shyamalan’s trademark twist-heavy approach. While the setup is promising and the tension builds nicely, the film quickly falls into a familiar rhythm. The twists that emerge—while necessary for the narrative—don’t quite land with the same impact that one might expect from a Shyamalan film. Rather than feeling shocking or fresh, they seem to borrow from films of the past, leaving Trap feeling a bit too derivative.

Yet despite these shortcomings, Trap remains fun, largely due to Shyamalan’s ability to create mood and atmosphere. The Hitchcockian elements add a layer of tension, even if they lack originality, and the film maintains a steady rhythm that keeps you engaged, if not fully surprised.

The Prognosis:

Trap is entertaining but uneven. Shyamalan’s attempt to balance Hitchcock-inspired suspense with his own familiar twists results in a film that’s enjoyable yet flawed. But with a standout performance from Josh Hartnett and a few tense moments, it’s still a fun ride, even if it feels like you’ve been down this road before.

  • Saul Muerte

The Deliverance (2023) – A Character-Driven Drama That Falls Back on Familiar Formulas

14 Saturday Sep 2024

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The Deliverance, based on a true story, aims to delve deep into the emotional and personal struggles of its characters, particularly those portrayed by Glenn Close and Andra Day. At first glance, it promises a gripping, introspective journey, focusing on the kind of slow-burn, character-driven drama that pulls you in. However, while the film does dedicate ample time to fleshing out its protagonists, it unfortunately stumbles by offering little else to elevate the overall experience.

The film takes its time to build up its central characters, Close and Day in particular, giving the audience a peek into their inner worlds and traumas. Their performances are solid, with Close bringing her seasoned gravitas and Day delivering a commendable portrayal of emotional depth. This focus on character development is understandable, considering it’s a true story, and the filmmakers clearly want us to empathise with their journey. The problem, however, is that the film seems overly invested in this process to the detriment of its narrative pacing and structure.

Once we move past the extensive character-building, what’s left is a plot that feels like it’s on autopilot. Instead of diving into new, thought-provoking territory, The Deliverance resorts to formulaic tropes that have been recycled countless times before. The tension builds, as expected, but there’s an unmistakable feeling that you’ve seen it all before in other dramas of its kind—films from yesteryear that The Deliverance borrows from without adding anything fresh to the mix.

The film’s reliance on tried and tested formulas creates a sense of predictability, leaving few surprises for the audience. Even moments that should hit hard emotionally feel muted because the narrative follows such a familiar path. What starts as an intriguing, personal story ultimately loses momentum, weighed down by clichés and conventional plot devices that strip the film of its potential impact.

The Prognosis:

Despite the strong performances and a promising setup, The Deliverance falls short in its attempt to be more than the sum of its parts. Its commitment to character development is admirable but comes at the cost of the film’s overall engagement, leaving the audience with a story that feels hollow beneath the surface.

  • Saul Muerte

We Are Zombies (2024) – A Nostalgic Nod to 90s Horror-Comedy

12 Thursday Sep 2024

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We Are Zombies, the latest offering from RKSS (the team behind Turbo Kid and Summer of 84), attempts to inject a new burst of energy into the well-worn zombie genre. Set in a world where the undead, or “living-impaired,” coexist with humans, the film follows three slackers—Karl, Maggie, and Freddy—as they cook up a scheme to profit from selling off zombies to a shady corporation. However, their plan takes a turn for the worse when their grandmother is kidnapped, launching them into a frantic rescue mission.

Blending irreverent humour with over-the-top gore, We Are Zombies harkens back to the quirky horror-comedies of the 90s. Its tone, humour, and overall vibe recall classics like Army of Darkness and Dead Alive, where the absurdity of the premise is embraced with gleeful abandon. Karl, Maggie, and Freddy are likeable slackers, reminiscent of the kind of lovable goofs you’d expect to find in a Kevin Smith or early Robert Rodriguez film. This throwback appeal is one of the film’s strongest elements, and RKSS clearly revels in balancing old-school horror tropes with a playful, modern twist.

However, despite its charm and humour, the film doesn’t fully break new ground. While the dynamic trio makes for fun protagonists, the story occasionally feels thin, relying heavily on gore and slapstick rather than delivering more depth or innovation to the zombie genre. The plot’s predictable turns and the comedy’s reliance on familiar beats may make We Are Zombies feel more like an homage than a truly fresh entry.

That being said, it’s clear that RKSS had a blast creating this gory, comedic world, and for fans of horror-comedy, it’s an entertaining ride. The practical effects are top-notch, and the splattery, often grotesque visuals add a layer of fun for those who enjoy a more old-school, hands-on approach to horror makeup.

The Prognosis:

We Are Zombies may not reinvent the wheel, but it’s a solid, fun throwback to the 90s horror-comedy era with a modern edge. If you’re a fan of quirky, likeable characters getting in over their heads amid a blood-soaked zombie outbreak, this film is worth a watch—even if it doesn’t completely shamble into classic territory.

  • Saul Muerte

Catch the screening of We Are Zombies at the Sydney Underground Film Festival at Dendy, Newtown.

Screening times and tickets available below:

FRIDAY 13TH SEPTEMBER – 9:45 PM

Saint Clare (2024) – Promising Cast, Unbalanced Execution

09 Monday Sep 2024

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Saint Clare, directed by Mitzi Peirone, comes with a premise that immediately piqued my interest—blending psychological tension with the religious undertones of its titular character, Clare Beeker. While the film boasts a notable cast, including Bella Thorne in the lead role, along with the familiar faces of Ryan Phillippe and Rebecca De Mornay, it ultimately struggles to find its footing, leaving much of its potential untapped.

Let’s start with Bella Thorne. I’ll admit, she’s not an actor I typically connect with on screen, as her performances often come across as lacking emotional depth. However, in Saint Clare, she does a decent job portraying the enigmatic and haunted Clare Beeker. There’s a fragility to her portrayal that occasionally breaks through, and I found myself more engaged with her performance than I expected to be. That said, there are still moments where her character feels distant and underdeveloped, which keeps the audience from fully investing in Clare’s internal turmoil. It’s as though she’s on the cusp of something more profound but never quite reaches it.

The film also brings back Ryan Phillippe and Rebecca De Mornay, which is a pleasant surprise for anyone who’s missed seeing these two on screen. Phillippe plays his role competently, though there’s not much for him to work with. De Mornay, meanwhile, brings her usual grace and presence, but like Phillippe, her character is underutilized, leaving me wanting more from both actors. Their presence feels more like a nostalgic nod than an essential component of the story.

The true standout, however, is Frank Whaley. Despite being criminally underused, Whaley steals every scene he’s in, offering a refreshing balance between reality and fantasy. His performance adds a much-needed layer of complexity to a film that often teeters on the edge of surrealism but never fully commits. Whaley’s ability to walk the fine line between grounded reality and unsettling fantasy suggests that Saint Clare could have leaned further into its psychological aspects, using his character as a bridge between the two worlds.

Unfortunately, the film’s execution is where things start to falter. While there are moments that hint at something deeper—particularly with its exploration of Clare’s fractured psyche and the eerie atmosphere surrounding her—the pacing is uneven, and the script lacks focus. What could have been an intense exploration of faith, guilt, and redemption gets bogged down by disjointed storytelling and underwhelming tension. The film never fully grips you in the way it intends to, leaving key plot points feeling unresolved or poorly developed.

Visually, Saint Clare has its moments. There are a few arresting images that play with the boundaries between reality and Clare’s inner world, but the cinematography often feels at odds with the tone. Rather than fully embracing the psychological horror or surrealism that the narrative teases, it settles into a more straightforward drama, which doesn’t quite mesh with the potential lurking beneath the surface.

The Prognosis:

Saint Clare feels like a missed opportunity. It boasts a capable cast and an interesting premise, but the uneven execution keeps it from being more than a brief curiosity. While Bella Thorne delivers a better performance than usual, and Frank Whaley shines in his limited screen time, the film fails to maintain momentum or dive deep into its more intriguing themes. It’s worth a watch for the cast alone, but Saint Clare ultimately struggles to rise above mediocrity, leaving me wanting more from what could have been a much darker, more compelling tale.

  • Saul Muerte

Catch the screening of Saint Clare at the Sydney Underground Film Festival at Dendy, Newtown.

Screening times and tickets available below:

FRIDAY 13TH SEPTEMBER – 7PM

SATURDAY 14TH SEPTEMBER – 8PM

All You Need is Death (2024) – A Sinister Tune that Loses Its Power

07 Saturday Sep 2024

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Paul Duane’s All You Need is Death begins with an enticing premise, steeped in the rich folklore and haunting traditions of Ireland, but as the narrative unfolds, it struggles to maintain the initial tension and promise it sets up. The film, which revolves around a young couple’s discovery of an ancient, taboo folk ballad, dives into themes of love, death, and the dark power of music. While there are moments of disturbing brilliance and an intriguing exploration of Irish mythology, the film ultimately falters in delivering a cohesive or captivating story.

At its core, All You Need is Death is a meditation on the power of music to carry both history and curses through time. The young couple, played with solid commitment by Simone Collins and her co-star Charlie Maher, are collectors of rare folk ballads, drawn into a sinister mystery when they record and translate a forbidden song from the distant past. The weight of the song—carried through generations of women who were forced to bear its cursed legacy—is a compelling idea, and Duane’s vision of an ancient, almost primal force embedded in the music has genuine potential.

The film’s opening scenes are some of its strongest, immersing the audience in the deep, folkloric atmosphere of rural Ireland. There’s a palpable sense of dread and mystery as the couple’s curiosity leads them into darker, more dangerous territory. The exploration of cult-like figures, secret histories, and the uncanny resonance of the song is effective in building tension, and Duane crafts these scenes with an unsettling edge, suggesting that the past is never truly gone—it lingers in the present, carried through cultural artifacts like music.

However, once the initial mystery is established, the film struggles to keep up the momentum. What starts as a fascinating delve into the supernatural and the occult loses its sharpness as the plot meanders, repeating certain ideas without developing them further. While the cursed ballad is an effective metaphor for the way history and trauma are passed down through time, the execution feels drawn out, and the film becomes bogged down in its own mythology. Instead of deepening the intrigue, All You Need is Death falls into a series of repetitive sequences that dampen the initial sense of dread.

Simone Collins is a clear standout in the film, delivering a nuanced performance that captures the slow unraveling of her character’s sanity as the curse takes hold. Her portrayal of a woman caught between the ancient and the modern, the living and the dead, is powerful, and she brings emotional depth to the film even when the script falters. Collins’ ability to convey the psychological toll of the song’s curse elevates the otherwise flat narrative, and her performance alone is worth watching.

The film’s themes of repressed history, particularly in its treatment of women’s voices being both vessels and victims of the curse, resonate on a symbolic level. The idea that the song has been carried through time, forced upon generations of women who had no choice but to bear its weight, is a strong thematic thread, but it’s one that is never fully explored. The horror of being a conduit for something destructive is hinted at but never given the depth it deserves. As the film progresses, these ideas are overshadowed by less compelling plot developments, and the emotional weight of the story is lost in the shuffle.

Duane’s direction is strongest when he leans into the more abstract, mystical aspects of the story. There are visually arresting moments—such as scenes that depict the landscape of Ireland as both beautiful and foreboding, echoing the duality of the song itself—but these moments are too few and far between. The film could have benefitted from a more focused exploration of the ancient, pagan themes it toys with rather than falling into a conventional horror rhythm that feels tired by the time the climax arrives.

The Prognosis:

All You Need is Death suffers from a lack of narrative drive. While it touches on fascinating ideas—such as the inescapability of history, the power of songlines to carry curses, and the dark side of love—the film doesn’t sustain these themes in a way that keeps the audience engaged. What begins as a chilling and thought-provoking journey into the past becomes a meandering tale that loses its bite.

For a film that promises a lot with its eerie concept, it ultimately leaves much to be desired. All You Need is Death is worth a watch for its themes and some strong performances, particularly from Simone Collins, but it never quite reaches its potential, losing steam before the credits roll.

  • Saul Muerte

All You Need Is Death is currently streaming on Shudder.

The Demon Disorder (2024) – A Mixed Bag of Revenge and Reckoning

04 Wednesday Sep 2024

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The Demon Disorder by Steven Boyle is a horror film that taps into the darker side of family dynamics, exploring themes of toxic masculinity, repressed secrets, and supernatural revenge. While the film has some standout moments, particularly in its special effects, it ultimately falls short of delivering a fully cohesive or compelling experience.

The story revolves around the Reilly family, with the patriarch, played by John Noble, casting a long shadow even after his death. His three estranged sons—Graham (Christian Willis), Jake (Dirk Hunter), and Phillip (Charles Cottier) — are drawn back to their father’s garage, the site where they uncover a buried family secret that unleashes a vengeful force from beyond the grave. As the brothers confront their past and the legacy of their father, they’re forced to reckon with the toxic masculinity that has defined their lives.

One of the film’s strongest elements is its special effects. Boyle clearly knows how to create a sense of dread and terror, with the supernatural elements being both visually striking and unsettling. The scenes of the vengeful spirit manifesting in the garage are genuinely creepy, and the practical effects used to bring these moments to life are a cut above what one might expect from a mid-tier horror film. There’s a visceral quality to the hauntings that keeps the audience engaged, even when the narrative starts to waver.

The film’s thematic exploration of toxic masculinity is also noteworthy. The Reilly brothers are all shaped, in different ways, by their father’s domineering presence. The late patriarch, portrayed with chilling intensity by Noble, represents a man whose illness stripped away his physical strength, but not his overpowering influence. His sons, left to grapple with their own unresolved issues, embody different aspects of the toxic traits they’ve inherited. Graham is the responsible but emotionally distant one, Jake is the angry and rebellious middle child, and Phillip is the youngest, still struggling to find his place. The tension between them is palpable, and the film does a decent job of showing how their father’s legacy has poisoned their relationships with each other.

However, despite these promising elements, The Demon Disorder struggles to maintain a consistent tone or pace. The film often feels disjointed, with the narrative shifting awkwardly between character drama and horror. The brothers’ backstory is hinted at but never fully explored, leaving their motivations and conflicts feeling underdeveloped. This lack of depth makes it difficult to fully invest in their plight, and the emotional beats don’t hit as hard as they should.

Additionally, while the film’s exploration of toxic masculinity is commendable, it can sometimes feel heavy-handed. The script doesn’t always trust the audience to pick up on the nuances of the brothers’ relationships, opting instead for blunt dialogue that spells out the themes rather than letting them emerge naturally from the story. This approach can make the film feel preachy at times, detracting from the horror elements that should be driving the plot.

The performances, while competent, are similarly uneven. John Noble is the standout, even in death, delivering a menacing portrayal of a man whose influence lingers beyond the grave. However, the actors playing the Reilly brothers struggle to elevate their characters beyond the archetypes they’re given. The result is a set of performances that, while not bad, fail to leave a lasting impression.

The Prognosis:

The Demon Disorder is a film with strong ideas and solid technical execution, but it doesn’t quite come together as a whole. The special effects and thematic undercurrents make it worth a watch for horror fans, but the disjointed narrative and uneven character development keep it from being more than a middling effort. It’s a film that hints at greatness but ultimately settles for something more forgettable.

  • Saul Muerte

THE DEMON DISORDER is now available to watch at home.